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DEKER'S GUIDE BOOKSl 



Austria- HungSiTSk. including Dalmatia, Bosnia, Bu/marest, Belgrade, 
and Montenegro. WitH 153 Maps and 44 Pfe£is. Tenth edition. 
1905 •..••••'"• rr- 8 marks 

The Eastern Alps, including the Bavarian Highlands, Tyrol, Salzburg, 
Upper and Lower Austria, Styria, Carinfthia, and Carniola. With 
61 Maps, 10 Plans, and 8 Panoramas. Eleventh edition. 1907. 10 marks 

Belgium and Holland, including the Ground- Duchy of Luxem- 
bourg. With 15 Maps and 30 Plans. Fourteenth edition. 1905. 6 marks 

The Dominion of Canada, with Newfoundland and an Excursion 
to Alaska. With 13 Maps and 12 Plans. Tb.ird edition. 1907. 6 marks 

Constantinople and Asia Minor, in German only : 

Konstantinopel und Kleinasien nebst den Hauptrouten durch die 
Balkanhalbinsel und einem Ausflug a,nf der Anatolischen Bahn. 
Mit 9 Karten, 34 Planen und Grundrissen. 1905 6 marks 

Denmark see Norway, Sweden, and 'Denmark. 

Egypt, Lower and Upper Egypt, Lower and Upper Nubia, and the 
Suddn. With 24 Maps, 76 Plans, and 59 Yignettes. Sixth edition. 
1908 - 15 marks 

England see Great Britain. 

Prance : 

Paris and its Environs, with Routes from London to Paris. With 
14 Maps and 38 Plans. Sixteenth edition. 1907 6 marks 

Northern France from Belgium and the English Channel to the Loire 

excluding Paris and its Environs. With 13 Maps and 40 Plans. 

I Fourth edition. 1905 J. 7 marks 

Southern France from the Loi?e to the Pyrenees, Auvergne, the 
i Cevennes, the French Alps, the Rhone Valley, Provence, the French 
( Riviera, and Corsica. With 33 Maps and 49 Plans. Fifth edition. 

^ 1907 1 9 marks 

, Germany : ; 

Berlin and its Environs. With p IVups and 18 Plans. Second edition. 
1905 { . { 3 markr, 

Northern Germany as far as tthe bavarian and Austrian frontiers. 
With 49 Maps and 75 Plans. Fourttenth edition. 1904 . . 8 marks 

Southern Germany (Wurtemberg ard Bavaria). With 30 Maps and 
23 Plans. Tenth edition. 1907 . \. 6 mark? 

, The Rhine from Rotterdam to Constant, including the Seven Mountains, 
the Moselle, the Yolcanic Eifel the Taunus, the Odenwald and 
Heidelberg, the Vosges Mountains, the Black Forest, etc. With 
52 Maps and 29 Plans. Sixteenth edition. 1906 7 marks 

\ 



Great Britain. England, Wales, and Scotland. With 22 Maps, 
58 Plans, and a Panorama'. Sixth edition. 1906 10 marks 

London and its Environs. With 4 Maps and 24 Plans. Fourteenth 
edition. 1905 6 marks 

Greece, the Greek Islands, and an Excursion to Crete. With 11 Maps, 
25 Plans, and a Panorama of Athens. Third edition. 1905. 8 marks 

Holland see Belgium and Holland. 

Italy: 

I. Northern Italy, including Leghorn, Florence, Ravenna, and Routes 
through Switzerland and Austria. With 30 Maps and 40 Plans. 
Thirteenth edition 1906 8 marks 

27. Central Italy and Rome. With 14 Maps, 49 Plans, a Panorama 
of Rome, a view of the Forum Romanum, and the Arms of the 
Popes since 1417. Fourteenth edition. 1904 7 marks 50 pf. 

III. Southern Italy and Sicily, with Excursions to Malta, Sardinia, 
Tunis, and Corfu. With 30 Maps and 28 Plans. Fifteenth edition. 
1908 6 marks 

Italy from the Alps to Naples. With 26 Maps and 44 Plans. 
1904 8 marks 

Norway, Sweden, and Denmark, including an Excursion to 
Spitzbergen. With 37 Maps , 22 Plans , and 3 Panoramas. Eighth 
edition. 1903 8 marks 

Palestine and Syria, including the principal routes through Meso- 
potamia and Babylonia. With 20 Maps, 52 Plans, and a Panorama 
of Jerusalem. Fourth edition. 1906 12 marks 

Portugal see Spain and Portugal. 

Riviera see Southern France. 

Russia, in German or French only: 

Rutland. Europ. RuBland, Eisenbahnen in Russ.-Asien, Teheran, Pe- 
king. Mit 20 Karten, 40 Planen u. 11 G-rundr. 6. Aufl. 1904. 15 marks 

Russischer Sprachfiihrer. 4. Aufl. 1903 1 mark 

Russie. Avec 19 cartes et 32 plans. 3 e edition. 1902 .... 15 marks 

Manuel de langue Russe. 3 e edition. 1903 1 mark 

Scotland see Great Britain. 

Spain and Portugal, with Excursions to Tangier and the Balearic 
Islands. With 7 Maps and 47 Plans. Second edition. 1901. 16 marks 

Switzerland and the adjacent portions of Italy, Savoy, and Tyrol. 
With 69 Maps, 18 Plans, and 11 Panoramas. Twenty-second edition. 
1907 8 marks 

Tyrol see The Eastern Alps. 

The United States, with an Excursion into Mexico. With 25 Maps 
and 35 Plans. Third edition. 1904 12 marks 



PARIS 




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BE' PARIS 




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PARIS 

AND 

ENVIRONS 



ROUTES PKOM LONDON TO PARIS 



HANDBOOK FOR TRAVELLERS 

BY 

KARL BAEDEKER 

u 



WITH 14 MAPS AND 38 PLANS 
SIXTEENTH REVISED EDITION 



LEIPZIG: KARL BAEDEKER, PUBLISHER 

LONDON: DULAU AND CO., 37 SOHO SQUARE, W. 
NEW YORK : CHARLES SCRIBNER'S SONS, 153/7 FIFTH AVE. 

1907 



-p. 
:>7 



'Go, little book, God send thee good passage, 
And specially let this he thy prayere 
Unto them all that thee will read or hear, 
Where thou art wrong, after their help to call, 
Thee to correct in any part or all ! ' 



NORTHERN ITALY 



MONEY- TABLE, 
(Coinp. p. xi.) 

Approximate Equivalents. 



Italian. 


American. 


English 




German. 


Austrian. 


*£§ J Cent. 

(Frcs.)\ 


Doll. 


Cts. \ 


, j , 


D. 


m. 


P/g. 


Fl. 


Kr. 




5 


_ 


1 








l h 





4 





2 





25 





5 





— 


21 2 


— 


20 


— 


12 





50 





10 


__ 





5 


— 


40 


— 


24 


j 


75 





15 





— 


7i 


4 


— 


60 


— ■ 


36 


1 







20 








93 


4 


— 


80 


1 


48 


2 








40 





1 


71 


4 


1 


60 





96 


3 








60 


— 


2 


5 


2 


40 


1 


44 


4 








80 


— 


3 


2ij 2 


3 


20 


1 


92 


5 







— 


— 


4 


— 


4 


— 


2 


40 


6 







20 





4 


93/4 


4 


80 


2 


88 









40 





5 


7»2 


5 


60 


3 


36 


8 







60 





6 


5 


6 


40 


3 


84 


9 







80 





7 


2ij 2 


7 


20 


4 


32 


10 





2 








8 




8 


10 


4 


SO 


xi 






20 


— 


8 


9 3 / 4 


8 


80 


5 


28 


12 


— 


2 


40 


— 


9 


7i 2 


9 


60 


5 


76 


13 


— 


2 


60 





10 


5 


10 


40 


6 


24 


14 


— 


2 


80 


— 


11 


2i| 2 


11 


20 


6 


72 


15 


— 


3 


— 


' — 


12 


— 


12 


— 


7 


20 


16 


— 


3 


20 


— 


12 


93(4 


12 


80 


7 


68 


17 


— 


3 


40 


— 


13 


7i 2 


13 


60 


8 


16 


18 


— 


3 


60 





14 


5 


14 


40 


8 


64 


19 


— 


3 


80 


— 


15 


21/2 


15 


20 


9 


12 


20 


— 


4 


— 


— 


16 


— 


16 


20 


9 


60 


25 


— 


5 


— 


1 


— 


— 


20 


40 


12 




100 




20 




4 






81 


60 


48 


— 



Distances. Since the consolidation of the Kingdom of Italy the 
French metre system has been in use throughout the country, but the old 
Italian miglio (pi. le miglio) is still sometimes preferred to the new kilo- 
metre. One kilometre is equal to 0.62138, or nearly 5 /sths, of an English 
mile. The Tuscan miglio is equal to 1.65 kilometre or 1 M. 44 yds.; the 
Roman miglio is equal to 1.49 kilometre or 1630 yds. 



The Italian time is that of Central Europe. In official dealings the 
old-fashioned Italian way of reckoning the hours from 1 to 24 has again 
been introduced. Thus, alle tredici is 1 p.m., alle venti 8 p.m. 










h,,^" 1 ; 1 ':'" 









;- i 5 /"^" ^ & *" ^Z' W-'l 



ifi;by .\f'Ti"'l" '"'''' "' i1 ' 








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I PARTE OCCIDENTALE). 
Scala di 1:1350,000 






3(p 
PEE FACE. 



The chief object of the Handbook for Paris, which is 
now issued for the sixteenth time, and corresponds with the 
sixteenth French edition, is to render the traveller as nearly 
as possible independent of the services of guides, commission- 
naires, and innkeepers, and to enable him to employ his time 
and his money to the best advantage. 

Objects of general interest, described by the Editor from 
his personal observation, are those with which the Handbook 
principally deals. A detailed account of all the specialties of 
Paris would of course far exceed the limits of a work of this 
character; but it will be found that the present volume, while 
recording the gigantic transformations in the external ap- 
pearance ot the city since the beginning of the Second Empire, 
has also bestowed considerable attention on the historical 
and archaeological aspects of the French metropolis. 

The Maps and Plans, upon which the utmost care has 
been bestowed, will, it is hoped, be found serviceable. Those 
which relate to Paris itself (one clue-map, one large plan, 
five special plans of the most important quarters of the city, 
and one omnibus-plan) have been collected in a separate cover 
at the end of the volume, and may if desired be severed from 
the Handbook altogether. The subdivision of the Plan of the 
city into three sections distinguished by different colours 
will be found materially to facilitate reference, as it ob- 
viates the necessity of unfolding a large sheet of paper at 
each consu'tation. 

A short account of the routes from London to Paris, and 
of the principal towns of Northern France, with their magni- 
ficent Gothic churches, will be acceptable to most travellers. 

In the Handbook are enumerated both the first-class 
hotels and those of humbler pretension. The latter may often 
be selected by the 'voyageur en garcon' with little sacrifice 
of real comfort, and considerable saving of expenditure. The 
asterisks indicate those hotels and restaurants which the 
Editor has reason to believe to be provided with the comforts 
and conveniences expected in an up-to-date establishment, 
and also to be well managed and with a reasonable scale of 



vl 



PiiEFACE. 



charges. Houses of a more modest character, when good of 
their class, are described as 'good' or 'very fair'. At the same 
time the Editor does not doubt that comfortable quarters are 
to be obtained at houses both of the first and second class that 
he has not recommended or even mentioned. It should, how- 
ever, be borne in mind that hotels are liable to constant 
changes, and that the treatment experienced by the traveller 
often depends on circumstances which can neither be fore- 
seen nor controlled. 

The Editor begs to tender his grateful acknowledgments 
to travellers who have sent him information for the benefit of 
the Handbook, and hopes that they will continue to favour 
him with such communications, especially when the result 
of thezr own experience. Hotel-bills, with annotations showing 
the traveller's opinion as to his treatment and accommodation, 
are particularly useful. 

To hotel-proprietors, tradesmen, and others the Editor 
begs to intimate that a character for fair dealing and courtesy 
towards travellers is the sole passport to his commendation, 
and that advertisements of every kind are strictly excluded 
from his Handbooks. Hotel-keepers are also warned against 
persons representing themselves as agents for Baedeker's 
Handbooks. 



Abbreviations. 



R. = room, including light and 

attendance. 
B. = breakfast. 
D. = dinner. 

dej. = dejeuner (luncbeon). 
pens. = pension, i.e. board and 

lodging, 
rfmts. = refreshments, 
omn. = omnibus, 
carr. = carriage. 
Av. = Avenue. 
Boul. = Boulevard, 
fr. = franc. 
c. = centime. 



N. = north, northern, etc. 

S. = south, etc. Also, supper. 

E. = east, etc. 

W. = west, etc. 

M. = Engl. mile. 

r. = right. 

1. = left. 

ft. = Engl. foot. 

kil. = kilometre. 

kg. = kilogramme. 

hr. = hour. 

min. = minute. 

ca. = circa (about). 

comp. = compare. 



The letter d after a name, with a date, indicates the year of the 
person's death. 

Asterisks are used as marks of commendation. 



i 



CONTENTS. 



Introduction. 

Page 
I. Language. Money. Expenses. Season. Passports. 

Custom House . xi 

II. Railways xii 

III. Outline of History xiv 

IY. General Remarks on Paris xxiii 

V. Weights and Measures xxix 

VI. Bibliography xxx 

VII. Remarks on Northern France xxxi 

Sketch of French Art, by Dr. Walther GenseL . . . xxxiii 

Preliminary Information. 

1 . Arrival in Paris 1 

2. Hotels, Pensions, and Apartments 2 

3. Restaurants 13 

4. Cafes. Brasseries. Pastry Cooks. Tea Rooms 22 

5. Baths. Hairdressers. Lavatories, etc 25 

6. Conveyances 27 

7. Railway Stations. Railway Offices and Agents 31 

8. Post and Telegraph Offices. Telephones 33 

9. Theatres. Music Halls. Balls. Circuses 36 

10. Concerts. Art Exhibitions. Sport. Clubs 43 

11. Shops and Bazaars 47 

12. Booksellers. Reading Rooms. Libraries. Newspapers . . 53 

13. Physicians. Dentists. Nursing Homes. Hospitals ... 55 

14. Divine Service 56 

15. Embassies and Consulates. Ministerial Offices. Banks . 58 

16. Distribution of Time. Preliminary Drive. Diary. ... 59 



Rout€ Eight Bank of the Seine. 

1. Place de la Concorde, Jardin des Tuileries, and Champs- 
Elysees 65 

Petit Palais: Muse'e de laVille; Collection Dutuit ... 71 

2. The Boulevards 77 

3. From theWestern Boulevards to the Louvre. PlaceVendome 86 

4. Palace and Galleries of the Louvre ......... 92 

A. Ground Floor (Sculptures). 

Ancient Sculptures 96. — Asiatic Museum 105. — Egyptian 
Museum 107. — Mediaeval and Renaissance Sculptures 
103. — Modern Sculptures 112. 



viii C0NTEN1S. 

Route Page 

B. First Floor (Picture Gallery and Art Objects). 

Picture Gallery (117): Salle Duchatel 121. Salon Carre" 
121. Salle des Primitifs Italiens 12i. Grande Galerie: 
Italian Schools 125. Spanish School 128. British School 
129. German School 129. Flemish School 130. Salle 
Rembrandt 131. Salle Van Dyck 132. Kubens Gallery 133. 
Smaller Rooms of the Flemish and Dutch Schools 134. 
French Rooms. Earliest School 139; Schools of the 
16th Century 140; Schools of the 17th Century 141; Salle 
des Portraits 143; Schools of the 18th and 19th Centuries 
143, 145. — Rotonde d'Apollon 146. Galerie d'Apollon 
146. Salle des Bijoux 149. — Salle des Sept Cheminees 150. 
Salle Henri II 151. Collection La Caze 151. 
Ancient Bronzes 152. Furniture of the 17th and 18th 
Centuries 153. — Collection of Drawings 155. — Smaller 
Mediae val, Renaissance, and Modern Objects of Art 156, 
159. — Donation Rothschild 157. — Asiatic Antiquities 
(continuation) 158. Egyptian Museum (continuation) 160. 
— Antique Pottery 162. 

C. Second Floor. 

Picture Gallery (continuation). French School of the 

19th Century 164. Thomy-Thie'ry Collection 165. — Muse'e 

deMarine. Ethnographical Museum. Chinese Museum 167. 
Entresol. 

Chalcographie. Collection Grandidier. 
Pavilion de la Tremo'ille. 

Salle du Mastaba (Egyptian Antiquities) 168. Galerie 

de Morgan (Asiatic Antiquities) 169. 
Pavilion de Marsan. 

Museum of Decorative Art 170. 

5. From the Louvre to the Place de la Bastille. Hotel de Yille 173 

Quartier du Marais, 183. — Musee Carnavalet, 187. 

6. Quarter to the N.E. of the Louvre, as far as the Boulevards 

(Place de la Republique) 193 

Halles Centrales, 194. — Quartier du Temple, 200. 

7. From the Louvre and the Palais-Royal to the Boulevard 

Montmartre and the Boulevard des Italiens 201 

Bibliotheque Nationale, 201. — Bourse 208. 

8. Quarters to the N. of the Interior Boulevards 208 

Montmartre, 213. 

9. Western Quarters, to the N. of the Champs-Elyse'es . . . 220 

Les Batignolles, 223. — Neuilly, 223. 

10. Western Quarters, to the S. of the Ohamps-Elysees . . . 224 

Passy, 233. — Auteuil, 234. 

11. Bois de Boulogne 235 

12. North-Eastern Quarters. Buttes-Chaumont 240 

13. Eastern Quarters. Pere-Lachaise. Faubourg St. Antoine . 242 
•14. Vincennes 253 

The Cite and the Left Bank of the Seine. 

15. The Cite and the He St. Louis 259 

Palais de Justice and Sainte-Chapelle, 261. — Notre-Dame 
265. 

16. Quartier Latin 269 

Musee de Cluny, 272. — Sorbonne, 280. — Pantheon, 283. 



CONTENTS. ix 

Route Pae e 

17. Quartier St. Germain , . 288 

18. Hotel des Invalides. Champ-de-Mars 302 

Musee de PArmee, 303. — Eglise des Invalides, 309. — 
Tomb of Napoleon I., 310. — Eiffel Tower, 313. 

19. The Luxembourg 314 

20. The Jardin des Plantes 326 

21. The Southern Quarters. The Gobelins. Montparnasse . 330 

Environs of Paris. 

22. From Paris to St. Cloud and Sevres. Meudon 339 

A. By Railway, 339-314. -■- B. By Steamboat, 344. 

23. From Paris to Versailles 348 

From Versailles to St. Germain-en-Laye, 370. 

24. From Paris to St. Germain-en-Laye 371 

A. By direct railway, 371. — B. By railway via Marly-le- 
Roi, 372. — C. By steam-tramway, 373. 

25. From Paris to St. Denis and Enghien. Montmorency . . 380 

26. From Paris to Pontoise 389 

From Pontoise to Beaumont, 393. 

27. From Paris to Beau mont-sur-Oise 394 

28. From Paris to Chantilly 396 

From Cbantilly to Cre'py-en-Valois via Senlis, 405. 

29. From Paris to Cre'py-en-Valois via Dammartin .... 406 

30. From Paris to Sceaux 407 

31. From Paris to Chevreuse 410 

32. From Paris to Montlhery 413 

33. From Paris to Verneuil-l'Etang 416 

34. From Paris to Fontainebleau 418 

Routes from London to Paris. 

35. By Folkestone, Boulogne, and Amiens 428 

36. By Dover, Calais, and Amiens 434 

37. By Newhaven, Dieppe, and llouen 436 

38. By Southampton, Havre, and Rouen 443 

List of Artists 447 

Index 457 



List of Maps and Plans, 

A. Maps. 

1. Bois de Boulogne, p. 236. 

2. Bois de Vincennes, p. 255. 

3. Immediate Environs of Paris, p. 338. 

4. Asnieres, Rueil, and Bougival, p. 340. 

5. Bois de Meudon, p. 344. 

6. St. Cloud and Sevres, p. 346. 

7. Environs of St. Germain-en-Laye, p. 379. 

8. Enghien and Montmorency, p. 387. 



x MAPS AND PLANS. 

9. St. Denis and Pontoise, p. 391. 

10. Remoter Environs of Paris, p. 394. 

11. Forest of Chantilly, p. 404. 

12. Clamart, Sceaux, and Villejuif, p. 408. 

13. Forest of Fontainebleau, p. 421. 

14. Railway Map of France, at the end of the book. 

B. Plans. 

1. Key-Plan of Paris. 

2. Plan of Paris in three sections. 

3 . Special Plan of Champs-Elystfes and Champ-de-Mars District. 

4. „ „ „ Champs -Elyse*es, Western Boulevards, and 

Louvre. 

5. „ „ ,, Eastern Boulevards and Les Halles. 

6. „ „ ,, Hotel des Invalides and Palais du Luxem- 

bourg District. 

7. „ ,, ,, Cite*, Place de la Bastille, and Jardin des 

Plantes. 

8. Omnibus, Tramway, and Railway Plan of Paris. 

9. Historical Plan of the Louvre and Tuileries, p. 93. 
10, 11, 12. Galleries of the Louvre, pp. 96, 116, 165. 

13. Musee des Arts Decoratifs, p. 170. 

14, 15. Musee Carnavalet, pp. 187, 188. 

16. Conservatoire des Arts et Metiers, p. 196 

17. Bibliotheque Nationale, p. 203. 

18. Cemetery of MontmaTtre, p. 217. 

19. Cemetery of Pere-Lachaise, p. 242. 

20. Palais de Justice, p. 261. 

21. Musee de Cluny, p. 273. 

22. Ecole des Beaux-Arts, p. 293. 

23. Hotel des Invalides, p. 302. 

24. Muse'e du Luxembourg, p. 317. 

25. Jardin des Plantes, p. 327. 

26. Town and Park of Versailles, p. 348. 

27. Chateau de Versailles, p. 352. 

28. St. Germain-en-Laye, p. 375. 

29. St. Denis, p. 382. 

30. Chateau of Chantilly, p. 398. 

31. Park of Chantilly, p. 404. 

32. Fontainebleau, p. 421. 

33. Boulogne, p. 428. 

34. Amiens, p. 432. 

35. Calais, p. 434. 

36. Dieppe, p. 436. 

37. Rouen, p. 433. 

38. Le Havre, p. 444. 



o 

© 



INTBODUCTION. 



I. Language. Money. Expenses. Season. Passports. 
Custom House. 

Language. For those who wish to derive instruction as well 
as pleasure from a visit to Paris, the most attractive treasury of 
art and industry in the world, some acquaintance with French is 
indispensable. The metropolis of France, it is true, possesses Eng- 
lish hotels , English professional men , English 'valets de place', 
and English shops ; but the visitor who is dependent upon these is 
necessarily deprived of many opportunities of becoming acquainted 
with the most interesting characteristics of the place. 

Money. The decimal Monetary System of France is extremely 
convenient in keeping accounts. The Banque de France issues 
Banknotes of 5000, 1000, 500, 200, 100, and 50 francs, and 
these are the only banknotes current in France. The French 
Gold coins are of the value of 100, 50, 40, 20, and 10 francs ; Silver 
coins of 5, 2, 1 , and ^2 franc ; Nickel of 25 centimes ; Bronze of 10 and 
5 centimes (100 centimes = 1 franc). '/Sow' is the old name, still 
in common use, for 5 centimes ; thus, a 5-franc piece is sometimes 
called 'une piece de cent sous', 2 fr. = 40 sous, 1 fr. = 20 sous, 
i/ 2 fr. = 10 sous. Italian, Belgian, Roumanian, and Swiss gold coins 
are also received at their full value, and the Austrian gold pieces 
of 4 and 8 florins are worth exactly 10 and 20 fr. respectively. 
Belgian, Swiss, and Greek silver coins (except Swiss coins with the 
seated figure of Helvetia) are also current at full value ; but Italian 
silver coins, with the exception of -5-lira pieces, should be refused. 
The stranger should also be on his guard against counterfeit silver 
coins, and should refuse obsolete coins such as those with heads of 
Louis Philippe or of Napoleon without the laurel wreath. 

English banknotes, gold, and even silver are generally received 
at the full value. The table at the beginning of the book shows the 
comparative value of the French, English, American, and German 
currencies, when at par. The currency of Belgium, Switzerland, 
Italy, and Greece is the same as that of France. 

The traveller should always be provided with small change 
(petite monnaie) , as otherwise he may be put to inconvenience in 
giving gratuities, purchasing catalogues, etc. 

Expenses. The cost of a visit to Paris depends of course 
on the tastes and habits of the traveller. If he selects a hotel of a 
high class, dines at the table d'hote, visits the theatres, drives in 
the parks and environs, and finally indulges in suppers a la carte, 



xii I. SEASON. PASSPORTS. CUSTOM HOUSE. 

he must be prepared to spend 30-40 fr. a day or upwards. Those, 
however, who visit Paris for the sake of its monuments, its galleries, 
its collections, and not for its pleasures, will have little difficulty, 
with the aid of the info'rmation in the Handbook, in jimiting their 
expenditure to 15-20 fr. a day. 

Season. Spring and autumn are the best seasons for a visit to 
Paris, the former perhaps deserving the preference as having fewer 
rainy days. The long days of summer are in some respects admir- 
ably adapted for sight-seeing 5 but the heat is often excessive, and 
the absence after June of a large proportion of the ordinary resi- 
dents deprives the city of one of its most characteristic features. 

Passpoets are now dispensed with in France, but they are often 
useful in proving the traveller's identity, procuring admission to 
museums on days when they are not open to the public, obtaining 
delivery of registered letters, etc. 

Passports may be obtained direct, from the Foreign Office (fee 2s.), or 
through Buss, 4 Adelaide Street, Strand (fe^ As.) ; G. Smith & Son, 23 Crav - 
Street, Charing Cross (fee 4s.); Thomas Cook & Son, Ludgate Circus (ft 
Qd.); or Henri/ BlacMock & Go. (Bradshaw's Guides), 59 Fleet. St. (5s.). - 
In the United States applications for passports should be made io the 
Passport Bureau, State Department, Washington, D.C. 

Custom House. In order to prevent the risk of unpleasant de- 
tention at the 'douane' or custom-house, travellers are strongly re- 
commended to avoid carrying with them any articles that are not 
absolutely necessary. Cigars, tobacco, and matches are chiefly sought 
for by the custom-house officers. The duty on cigars amounts to 
about 13s., on tobacco to 6- 10s. per lb. Articles liable to duty 
should always be 'declared'. Books and newspapers occasionally 
give rise to suspicion and may in certain cases be confiscated. Lug- 
gage registered to Paris is examined on arrival there. — The octroi 
is a duty on comestibles levied at the entrance of Paris and other 
large towns, but travellers' luggage is usually passed on a simple 
declaration that it contains none. 

II. Railways. + 

The fares per English mile are approximately: 1st cl. 18 c, 
2nd cl. 12 c, 3rd cl. 8c, to which a tax of ten per cent on each 
ticket costing more than 10 fr. is added. Return - tickets (Billets 

f Railway - station, la gare (also Vembarcadere); booking-office, le 
guichet or bureau; first, second, or third class ticket, tm billet de premiere, 
de seconde, de troisieme classe; to take a ticket, prendre un billet; to 
register the luggage , /aire enregistrer les bagages; luggage-ticket, bulletin 
de bagage; waiting-room, salle d'attente; refreshment-room, le buffet (third 
class, la buvette); cloak-room, la consigne; platform, le quai, le trottoir; 
carriage, le wagon; compartment, le compartiment, le coupe"; smoking com- 
partment, fumeurs; ladies' compartment, dames seules; guard, conduct eur ; 
porter, facteur; to enter the carriage, monter en wagon; take your seats! 
en voitureJ to alight, descendre; to change carriages, changer de voiture; 
express train to Calais, le train express pour Calais, Vexpress de Calais, 



II. RAILWAYS. xiii 

(Taller el retour) are issued hy all the railway-companies at a reduc- 
tion of 20-25 per cent; those issued on Sat. and the eves of great 
festivals are available for three days. On some of the suburban lines, 
however, ther$ is no reduction on return-tickets Tickets are usu- 
ally collected at the 'sortie'. The mail trains ('trains rapides') 
generally convey first-class passengers only , and the express trains 
('trains express'), first-class and second-class only. The carriages 
are inferior to those in most other parts of Europe. The trains are 
not always provided with smoking carriages, hut in the others 
smoking is allowed unless any one of the passengers ohjects. 

Before starting, travellers are generally cooped up in the close 
and dusty waiting-rooms, and are not admitted to the platform until 
ihe train is ready to receive them; nor is any one admitted to the 
platform to take leave of friends without a platform-ticket (10 c.) 
which may be ohtained from the ticket-checker or in some cases 
(e.g. at the Gare de Lyon) from an automatic machine. 

^•.Travellers within France are allowed 30 kilogrammes (66 Engl. 
iSfiic) of luggage free of charge; those who are hound for foreign 
eouiitries are allowed 25 kilogr. only (55 lbs.) ; 10 c. is charged 
for hooking. At most of the railway-stations there is a consigne, 
or left-luggage office, where a charge of 10 c. per day is made for 
one or two packages, and 5 c. per day for each additional article. 
Where there is no consigne, the employees will generally take care 
of luggage for a trifling fee. The railway-porters (facteurs) are not 
entitled to remuneration, hut it is usual to give a few sous for their 
services. The occasionally extortionate demands of the Parisian 
porters should he firmly resisted. — Bog Tickets cost 30 c. for 20 kilo- 
metres (12^2 M.) or less, and 5 c. for each additional 3 kilometres 
(1 3 / 4 M.), with 10 c. for 'registration'. 

Railway Restaurants (usually dear and often poor) are found at the 
principal stations, hut the stoppages of the trains are usually so short 
that travellers are advised to cajry the necessary provisions with them. 

Sleeping Carriages ( Wagons - lits) and Restaurant Carriages ( Wagons- 
restaurants) are run in the chief night and day expresses respectively. 
Dej. 3V2-5, D. 4V2-7 fr. (wine extra), according to the line; 2nd cl. on cer- 
tain lines in Normandy, dej. 2 1 /t, D. 3 x /2 fr. — Pillows and Coverlets may 
be hired at -the chief stations (1 fr.). 

The most trustworthy information as to the departure of trains 
is contained in the Indicateur des Chemins de Fer, puhlished weekly 
(85 c). There are also separate and less hulky time-tables for the 
different lines ('Livrets Chaix'): da Nord, de l'Est, de l'Ouest, etc. 
(50 c.) ; and the Livret Chaix des Environs de Paris (40 c). 

Railway time is always that of Paris, hut the clocks in the in- 
terior of the stations, hy which the trains start, are purposely kept 
five min. slow. Belgian (Greenwich or West Europe) railway time 
is 4 min. behind, and 'Mid Europe' time (for Germany, Switzerland, 
and Italy) 56 min. in advance of French railway time. 



xiv 



III. Outline of History. 



The history of Paris throughout is intimately involved with that of 
France ; and the following chronological sketch includes the chief historical 
events mentioned in our description of the city. 

At the time of the conquest of Gaul hy Julius Caesar (B. C. 58- 
51), the Parisii were a tribe settled on the hanks of the Sequana or 
Seine, and their chief village was Lutetia, situated on the present 
island of La Cite. In course of time Lutetia gradually increased 
in importance and became the occasional residence of several Ro- 
man emperors, among whom were Constantius Chlorus (293-306), 
who built the palace of the Thermae, and Julian the Apostate (361- 
363), who referred to it as his 'dear Lutetia'. Gratian was defeated 
and slain by Maximus in the vicinity (383). 

Christianity was introduced by St. Denis about 250 A.D.; and 
in 360 a council was convened in the town under the name of 
Parisea Civitas, whence the modern name is derived. — In the 
4th cent. France was invaded by the Franks the Burgundians, and 
Visigoths; the Roman power collapsed; and feudalism began. 

Merovingian Dynasty. — Clovis I. (481-511), son of Childeric, 
king of the Ripuarian Franks of Tournai, finally expelled Syagrius, 
son of the last Roman governor, embraced Christianity, and united 
all the Franks under the Merovingian Dynasty, which was so named 
from Meroveus or Merwig , grandfather of Clovis. This dynasty, 
however, rapidly degenerated, the Frankish kingdom was several 
times divided, and a bitter rivalry arose between Austrasia, the king- 
dom of the E. Franks, and Neustria, that of the W. Franks. The 
descendants of Pepin of Heristal, the chief nobles of Austrasia and 
mayors of the palace in that kingdom and afterwards in Neustria and 
Burgundy also , seized the supreme power. In 732 Charles Martel 
defeated the Saracens at Poitiers. 

Carlovingian Dynasty. — Pepin, le Bref (752-768), son of 
Charles Martel, founded the second dynasty, the greatest member 
of which was Charlemagne (768-814). Charlemagne warred suc- 
cessfully against the Saracens, the Longobards, the Saxons, and the 
Avars, and was crowned emperor by the pope in 800. On the death 
of his son Louis I., le Debonaire (814-840), his possessions were 
divided by the Treaty of Verdun (843). France fell to Charles II., 
le Chauve (840-877), while Louis the German became king of Ger- 
many, and Lothaire received Italy, Burgundy, and Lorraine. Charles 
le Chauve was succeeded by Louis II., le Begue (877-879), Louis III. 
and Carloman (879-8h2), then by Carloman alone (882-884), all 
of whom proved unable to defend their country against the incur- 
sions of the Normans. Charles III., le Qros, son of Louis the German 
and German emperor, was invited in 884 to succeed Carloman. He, 
however, left the defence of Paris to Count Odo, or Eudes, in whose 
favour he was deposed in 887. Charles HI., le Simple f898-923), 
son of Louis le Bcgue, succeeded Eudes and founded the duchy of 



III. HISTORY. xvii 

Henri ni (1574-89), brother of Ms two predecessors; flies 
from Paris, where a rebellion had broken out, by the advice of his 
mother, Catherine de MeMicis (d. 1588); assassinated at St. Olond 
by Jacques Clement, a Dominican friar. 

House of Bourbon. — Henbi IV (1589-1610), first monarch of 
the House of Bourbon, defeats the Roman Catholic League at Arques 
in 1589 and at Ivry in 1590, becomes a Roman Catholic in 1593, and 
captures Paris in 1594. Sully, his minister. Religious toleration 
granted by the Edict of Nantes (1598). Henri, divorced from Mar- 
garet of Valois in 1599, marries Marie de Medicis the following 
year ; assassinated by Ravaillac in 1610. Paris greatly embellished 
during this reign; the Pont Neuf finished and the Louvre enlarged. 

Louis Xni (1610-43), a feeble monarch, under the regency of 
his mother, Marie de Medicis, and the influence of his favourites, 
Concini and De Luynes, until 1624, when Richelieu (d. 1642) be- 
comes minister. English fleet defeated at Re, 1627; La Rochelle 
taken from the Huguenots. France takes part in the Thirty Years' 
War against Austria. The embellishment of Paris continued ; new 
bridges, quays, and streets constructed and the Jar din des Plantes 
established. 

Louis XIV, le Grand (1643-1715) , under the regency of his 
mother, Anne of Austria. Ministers: Mazarin (d. 1661) ; Louvois 
(d. 1691), who reorganized the military forces and established the 
standing army; and Colbert (d. 1683), who reformed all branches of 
the administration. Generals: Turenne (d. 1675), Condi (d. 1686), 
Luxembourg (d. 1695). 

War of the Fronde against the court and Mazarin. Conde' 
(Due d'Enghien) defeats the Spaniards at Rocroy in 1643, and at 
Lens in Holland in 1648. Turenne defeats the Bavarians at Nord- 
lingen, 1644. The Peace of Westphalia (1648) assigns Alsace to 
France, with the exception of Strassburg and Montbeliard. Submis- 
sion of the Fronde. Peace of the Pyrenees, with Spain, 1659. Louis 
marries Maria Theresa, daughter of Philip IV of Spain, 1660. 

Death of Mazarin, 1661. The king governs alone. After the 
death of his father-in-law Louis lays claim to the Spanish Nether- 
lands. Turenne conquers Hainault and part of Flanders, 1667. 
Conde occupies the Franche Comte, Peace of Aix-la-Chapelle, in 
consequence of the Triple Alliance, 1668. 

War with Holland, Passage of the Rhine, 1672. Occupation 
of the provinces of Utrecht and Guelderland. Victories of Turenne 
over the Imperial army in Alsace, 1674. Death of Turenne at 
Sassbach, 1675. 

Admiral Duquesne defeats the Dutch fleet near Syracuse, 1676. 
Marshal Luxembourg defeats William of Orange at Montcassel, 1677. 
Peace of Nymwegen, 1678. Strassburg occupied, 1681. Occupation 
of Luxembourg. Revocation of the Edict of Nantes, 1685. Devast- 
ation of the Palatinate , 1688. Marshal Luxembourg defeats the 

Bvedeker. Paris. 16th Edit. 



xviii III. HISTORY. 

Imperial troops at Fleurus (1690) and Steenkerke (1692"), and Wil- 
liam of Orange at Neerwinden, 1693. Catinat defeats the Duke of 
Savoy at Marsaglia, 1693. The French fleet under Admiral Tourville 
defeated by the English AtLaHogue, 1692. Peace oiRyswyck, 1697. 

Spanish war of succession, 1701-14. Yictory of Vendome at 
Vittoria (1702), a*«id of Tallard at Speyer (1702). Taking of Lan- 
dau, 1702. Victory at Hbchstddt (1703); defeat at Hochstddt, or 
Blenheim (1704), by the Duke of Marlborough and Prince Eugene 
of Savoy. Marshal Villars defeated by Prince Eugene at Turin 
(1706), and by Marlborough and the Prince at Ramillies (1709), 
Oudenarde (1708), and Malplaquet (1709). Peace of Utrecht, 
1713. Peace of Rastadt, 1714. 

Louis XIV pushed the doctrine of absolute power to extremes, 
but at the same time endeavoured to justify his theories by the 
exact discbarge of his kingly duties. He aimed at conferring a 
homogeneous administration upon France and at distributing the 
burden of taxation more justly, and favoured industry and commerce, 
thus laying the foundations of the future prosperity of the country. 
Le Brun, the painter, to whom was entrusted the decoration of the 
royal palaces, was as absolute in the domain of art as the king was 
in that of government. The Academies des Beaux-Arts, des Inscrip- 
tions, and des Sciences were founded in this reign, in which also 
French literature attained its zenith : Corneille, Racine, Moliere, La 
Fontaine, Boileau, Bossuet, Fenelon, Descartes, Pascal, La Bruytre. 
Mme. de Sevigne, etc. — More than eighty streets and thirty-three 
churches were added to Paris ; the Hotel des Invalides, the Obser- 
vatory, and the Colonnade of the Louvre were completed; the College 
Mazarin, the Gobelins, and several triumphal arches were begun, and 
the fortifications were converted into boulevards. The Palace of 
Versailles enlarged. 

Louis XV (1715-74) ; eight years' regency of the Duke of Or- 
leans. Marries Marie Lesczinska of Poland (1725). The king took 
no interest in public affairs, but abandoned himself to a life of 
pleasure. After the regency France was governed successively by the 
Due de Bourbon (1723-26), Cardinal Fleury (1726-43), the minions 
of Mme. de Pompadour (1745-62), the king's mistress, the Due de 
Choiseul (1758-62), and the creatures of Mme. Dubarry, another 
royal mistress (1769-74). Austrian War of Succession (1741-48). 
Defeat at Dettingen by George II. of England (1743). Defeat of the 
Dutch and English at Fontenoy (1745) , of the Austrians under 
Charles of Lorraine at Rocoux (1746), and of the Allies near Laeffelt 
(Lawfeld) in 1747. Taking of Maastricht and Peace of Aix-la- 
Chapelle, 1748. Naval war against England. 

Seven years' war with England (1756-63). Duke of Cumberland 
defeated by Marshal d'Estrees, 1757. The French under Prince de 
Soubise defeated the same year by Frederick the Great at Ross- 
bach, and in 1758 at Crefeld, by the Duke of Brunswick. The 



III. HISTORY. xix 

French defeated at Minden (1759). The French defeated by Marshal 
Broglie at Bergen, 1760. — French possessions in N. America sur- 
rendered at the Peace of Paris, 1763. — Acquisition of Lorraine 
(1766) and Corsica (1768). — From this reign date the Panthedn, 
the Ecole Militaire, the Palais Bourbon, the Mint, and other impor- 
tant huildings ; and the Jardin des Plantes was extended. — Voltaire, 
Rousseau, and Diderot the most influential writers. 

Louis XVI (1774-93), married to Marie Antoinette, daughter 
of Francis I. and Maria Theresa, 1770. American War of In- 
dependence against England, 1777-83. Exhaustion of the finances 
of France ; Vergennes, Turgot, Necker, de Calonne , de Brienne, 
and Necker (a second time), ministers of finance. 

1789. Revolution. Assembly of the States General at Ver- 
sailles, 5th May. Their transformation into a National Assembly, 
17th June. Oath of the Jeu de Paume (p. 350), 20th June. 
National Guard established, 13th July. Storming of the Bastille, 
14th July. The 'Femmes de la Halle' at Versailles, 5th Oct. Con- 
fiscation of ecclesiastical property, 2nd Nov. 
. 1790. Fete de la Fe'de'ration in the Champ-de-Mars (p. 312). 

1791. The Emigration. The royal family escapes from Paris, but 
is intercepted at Varennes, 22nd June. Oath to observe the Con- 
stitution, 14th Sept. Assemblee Legislative. 

1792. "War with Austria, 20th April. Storming of the Tuileries, 
10th Aug. The king arrested, 13th Aug. Massacres in Sept. 
Cannonade of Valmy against the Prussians, 20th Sept. The Na- 
tional Convention opened, and royalty abolished, 21st Sept. 

First Republic proclaimed, 21st Sept. Custine enters Mayence, 
21st Oct. Battle of Jemappes against the Austrians, 6th Nov. Con- 
quest of Belgium. 

1793. Louis XVI beheaded, 21st Jan. Republican reckoning 
of time introduced, 5th Oct. t. Reign of Terror. The queen 
beheaded, 16th Oct. Worship of Reason introduced , 10th Nov. 

1794. Robespierre's fall and execution, 27th July (9th Ther- 
midor). 

1795. Conquest of Holland by Pichegru. Bonaparte commander 



t The year had 12 months : Vendemiaire (month of the vendange, 
or vintage) from 22nd Sept. to 21st Oct., Brumaire {brume, fog) 22nd Oct. 
to 20th Nov., and Frimaire (frimas, hoar-frost) 21st Nov. to 20th Dec, were 
the three autumn-months ; — Nivose (neige , snow) 21st Dec. to 19th Jan., 
Pluviose (pluie , rain) 20th Jan. to 18th Feb., and Ventose (vent, wind) 
19th Feb. to 20th March, winter - months •, — Germinal (germe, germ), 
21st March to 19th April , Floreal {flew , flower) 20th April to 19th May, 
and Prairial (prairie, meadow) 20th May to 18th June , spring-months ; — 
Messidor (moisson, harvest) 19th June to 18th July, Thermidor (therme, 
warmth) 19th July to 17th Aug., and Fructidor (fruit, fruit) 18th Aug. to 
16th Sept., summer months. — Each month had 30 days, and consisted of 
3 decades, weeks being abolished. At the close of the year there were 
5 jours complimentaires , 17th to 21st Sept. — The republican calendar 
was discontinued by a decree of 9th Sept., 1805. 

b* 



xx III. HISTORY. 

of the troops of the Convention against the Royalists, 4th Oct. 
(13th Vendemiaire). Directory established, 28th Oct. 

1796. Bonaparte's successes in Italy ( Montenotte , Millesimo, 
Lodi, Milan, Mantua, Castiglione, Bassano, and Arcole). French 
armies repulsed in Germany, Switzerland, and Italy. Return of 
Bonaparte to France. 

1797. Victory at Rivoli, 14th Jan. Taking of Mantua, 2nd 
Feb. The Austrians commanded by Archduke Charles, at first 
victorious, are defeated by Bonaparte. Peace of Campo Formio, 
17th Oct. Change in the Directory on 18th Fructidor (4th Sept.). 

1798. Bonaparte in Egypt. Victory of the Pyramids, 21st July. 
Defeated by Nelson at the battle of the Nile, 1st Aug. 

1799. Bonaparte invades Syria. Acre attacked. Victory of 
Aboukir, 25th July. Fall of the Directory, 9th Nov. (18th Brumaire). 
Establishment of the Consulate, 24th Dec. Bonaparte First Consul. 

1800. Bonaparte's passage of the St. Bernard, 13-16th May. 
Victories at Piacenza, Montebello, Marengo, and Hohenlinden. At- 
tempt to assassinate Napoleon at Paris, 23rd Dec. 

1801. Peace of Luneville with Germany, 9th Feb. Concordat, 
15th August. 

1802. Peace of Amiens with England, 27th March. Bonaparte 
(with Cambaceres and Lebrun) elected Consul for life, 2nd Aug. 

1803. War with England renewed (18th May). 

First Empire. 1804. Code Civil published, 21st March. — 
Napoleon I. proclaimed emperor by the Senate, 18th May; crowned 
at Notre-Dame by Pope Pius VII., 2nd Dec. 

1805. Renewal of war with Austria. Capitulation of Vim, 17th 
Oct. Defeat of Trafalgar, 21st Oct. Battle of Austerlitz, 2nd Dec. 
Peace of Pressburg, 26th Dec. 

1806. Establishment of the Rhenish Confederation, 12th July. 
War with Prussia. Battles of Jena and Auerstadt, 14th Oct. Entry 
into Berlin, 27th Oct. Continental blockade. 

1807. War with Russia and Prussia. Battles of Eylau and Fried- 
land. Treaty of Tilsit, 8th July. Occupation of Lisbon, 30th Nov. 

1808. War in Spain, in order to maintain Joseph Bonaparte on 
the throne. 

1809. Conquest of Saragossa. Renewed war with Austria. 
Battle of Eckmuhl. Vienna entered, 13th May. Battles of Aspern, 
or Essling, and Wagram. Peace of Vienna, 14th Oct. Abolition of 
the temporal power of the pope. 

1810. Marriage of Napoleon with Marie Louise , daughter of 
Francis I. of Austria, 11th March. Napoleon at his zenith. 

1812. Renewed war with Russia. Battles of Smolensk and Bo- 
rodino. Moscow entered, 15th Sept. Retreat begun, 19th Oct. 
Passage of the Beresina. — Wellington's victory at Salamanca. 

1813. Battles of Liitzen, Bautzen, Orossbeeren, Dresden, Katz- 
bach, Kulm, Leipzig (16-18th Oct), Hanau, etc. 



III. HISTORY. xxi 

1814. Battles of Brienne, La Rothiere, Montmirail, Laon, Arcis- 
sur-Aube, and Paris. The Allies enter Paris, 31st March. Abdica- 
tion of the Emperor, 11th April. His arrival at Elba, 4th May. 

The frightful scenes of devastation enacted during the Revolu- 
tion, especially in 1793, were at least heneflcial in sweeping away 
the overgrown conventual establishments, which occupied the hest 
sites and one-third of the area of the city. The Musee of the Louvre 
was founded under the Directory, while extensive improvements in 
Paris were undertaken under Napoleon (p. xxvi). 

Restoration. 1814. Louis XVIII (1814-24) proclaimed king, 
6th April. First Peace of Paris, 30th May. 

1815. Napoleon's return from Elba 5 at Cannes on 1st, and at 
Paris on 20th March. Battles of Ligny and Waterloo, 16th and 
18th June. Second entrance of the Allies into Paris, 7th July. 
Second Peace of Paris, 20th Nov. Napoleon banished to St. Helena, 
where he dies (5th May, 1821). 

1823. Spanish campaign, to aid Ferdinand VII. , under the 
Due d'Angouleme, son of Charles X. 

1824. Charles X (1S24-30). 

1830. Conquest of Algiers. — Ordinances of St. Cloud (25th 
July), abolishing the liberty of the press and dissolving the chamber. 
Revolution op July (27-29th). Fall of the Bourbons. 

House of Orleans. 1830. Louis Philippe (1830-48), son of 
the Due d'Orleans (Egalite), elected king, 7th Aug. Continued war 
in Africa ; consolidation of the French colony of Algeria. 

1832. Capture of Antwerp. 

1835. Fieschi' s attempt ou the life of the king, who had failed 
to satisfy the demands of the democratic party. 

1840. Body of Napoleon transferred from St. Helena to Paris. 

1848. Revolution of February (23rd and 24th). 

Second Republic. 1848. Sanguinary conflicts in Paris, 23rd to 
26th June. Louis Napoleon, son of the former King of Holland 
and nephew of Napoleon I., elected President, 10th Dec. 

1851. Dissolution of the Assemblee. Coup d'Etat, 2nd Dec. 

Second Empire. 1852. Napoleon III. (1852-70), elected em- 
peror by plebiscite, 2nd Dec. 

1853. Marriage of Napoleon III. with Eugenie, Countess of Mon- 
tijo (b. at Granada in 1826). — The wholesale transformation of 
Paris begun. 

1854. War with Russia. Crimean campaign. — 1855. First 
Universal Exhibition at Paris. — 1856. Peace of Paris, 31st March. 
1857-58. Expedition to Annam (Cochinchina). — 1859. War with 
Austria. Battles of Magenta (4th June) and Solferino (24th June). 
Peace of Villafranca, 11th July. — 1860. Nice and Savoy added 
to France. Expeditions to China and Syria. — 1861-65. Mexican 
expedition. — 1867. Dispute with Prussia about Luxembourg. 
Second Universal Exhibition. 



xxii III. HISTORY. 

1870. War with Prussia. Declaration of war, 19th July. Battles 
in August : Weissenburg (4th), Worth (6th), Spichem (6th), Borny, 
Rezonville, and Gravelotte (14th , 16th, 18th), Beaumont (30th). 
Battle of Sedan, 1st Sept. Surrender of Napoleon III. 

Third Republic proclaimed, 4th Sept. Capitulation o£Strassburg, 
27th Sept., and of Mete, 27th Oct. Battles near Orleans, 2nd-4thDec. 

1871. Battle of St. Quentin, 19th Jan. Capitulation of Paris, 
28th Jan. The Germans enter Paris, 1st March. 

Communard Insurrection, 18th March. Seat of government 
removed to Versailles , 20th March. Second siege of Paris , 2nd 
April to 25th May. Upwards of 238 public and other edifices were 
destroyed by the Communards. — Peace of Frankfort, 10th May. 
— Thiers, chief of the executive since 17th Feb., appointed Presi- 
dent of the Republic, 31st August. 

1873. Death of Napoleon III., 9th Jan. — Marshal Macmahon 
appointed president instead of M. Thiers, 24th May. Pinal evac- 
uation of France by the German troops, 16th Sept. — Macmahon's 
tenure of the presidency fixed at seven years, 20th Nov. 

1875. Republican Constitution finally adjusted, 25th Feb. 

1877. Reactionary ministry of May 16th (Broglie-Fourtou). — 
1878. Third Universal Exhibition. 

1879. Jules Grevy becomes president in place of Marshal Mac- 
mahon. The Chambers of the Legislature return to Paris. 

1881. Expedition to Tunis. — 1882-85. Expeditions to Ton- 
quin and Madagascar. — 1885. Peace with China, 9th June. Peace 
with Madagascar, 17th Dec. 

1887. Sadi Carnot becomes president in place of Jules Grevy, 
3rd Dec. — 1889. Fourth Universal Exhibition. — 1894. Assas- 
sination of President Carnot, by the Italian Caserio, 24th June. 
J. Casimir Perier elected president two days later. 

1895. Resignation of Casimir Perier and election of Felix Faure 
to the presidency. Expedition to Madagascar and annexation of that 
island. — 1896. Nicholas II., Czar of Russia, visits Paris. — 1897. 
The president visits St. Petersburg. 

1899. Death of Felix Faure. Emile Loubet succeeds him. Dreyfus 
Trial. — 1900. Fifth Universal Exhibition. — 1901. Nicholas II. 
revisits France. — 1902. M. Loubet visits St. Petersburg. — 1903. 
Edward VII. of England visits Paris. M. Loubet visits London. — 
1904. Religious controversies. — 1905. Separation of Church and 
State (abrogation of the Concordat, p. xx). 

1906. M. Armand Fallieres elected president. Morocco Conference 
at Algeciras, 



IV. General Remarks on Paris. 

Paris, the capital and by far the largest town of France, is situ- 
ated in 48° 50' N. lat. and 2° 20' E. long, on the Seine, which flows 
through it from S.E. to S.W., after receiving its principal affluent, 
the Marne, just above the city. The height of Paris above the sea- 
level varies from 80 ft. at Grrenelle, to 420 ft. at Montmartre. The 
city covers an area of about 20,000 acres, of which. 1760 are occu- 
pied by tbe river. As early as the beginning of the 13th cent, the 
population was nearly 200,000; in 1675, under Louis XIV, it 
reached 540,000; in 1789 it' was 600,000; in 1821, 763,000; in 
1836, 868,000; in 1852, 1,053,262; in 1860, after the inclusion 
of the faubourgs, 1,525,255; in 1870, 1,825,274; and in 1901, 
2,714,068. The last census (1906) showed a population of 2,763,393, 
including about 250,000 foreigners. If we add the population of 
environs practically, though not officially, forming part of the cap- 
ital, we find that Paris is really a community of nearly S 1 ^ million 
inhabitants. 

The part of the Seine within the city is about 7 M. long and is 
crossed by 31 bridges. It contains two islands of some size, the lie 
St. Louis and the He de la Cite, each formed by the union of several 
islets. Paris is thus naturally divided into three parts ; the quarters 
on the right bank, the Cite with the island of St. Louis, and the 
quarters on the left bank. The old distinctions between Old Paris, 
the Faubourgs, and the Communes Annexe'es have entirely dis- 
appeared, and the only sensible difference between the various 
districts now consists in the greater traffic observable in the central 
quarters. A glance at the Plan will show the limits of Old Pakis, 
bounded by the first circle of boulevards, the so-called Grands 
Boulevards (p. 78). It should be noted, however, that on the left 
bank the old city of Paris extended as far as the boulevards to the 
S. of the garden of the Luxembourg. Outside the Great Boulevards 
lie the Old Faubourgs or suburbs, the names of which are still 
preserved in those of the chief streets radiating from the centre 
of the city, and extending to the Outer Boulevards (Boulevards 
Exterieurs, p. 78). The Faubourgs themselves are generally named 
after the corresponding district of the old town. The most important 
on the right bank, named from E. to "W., are the Faubourgs St. 
Antoine, du Temple, St. Martin, St. Denis, Poissonniere, Mont- 
martre, and St. Honore. Those on the left bank are less known, 
with the exception of the Faubourg St. Germain, which from an 
early period formed part of the old city. The Faubourgs of St. 
Antoine and the Temple are the great industrial districts, the former 
being the headquarters of the manufacture of furniture, and the 
latter of the various fancy articles classed together as 'articles de 
Paris' (real and imitation jewellery, artificial flowers, toys, articles 
in leather and carved wood, etc.), The Faubourgs of St. Martin, 



xxiv IV. GENERAL REMARKS. 

St. Denis, and Poissonniere are rather commercial than industrial, 
and form the centre of the wholesale and export trade of the great 
capital. The streets near the centre of the town, however, partic- 
ularly the Great Boulevards, contain many of the finest retail shops 
in Paris. The Faubourg Montmartre and the quarters of the Ex- 
change, the Palais-Royal, and the Opera are the financial quarters 
of the town, and also contain nearly all that is necessary for the 
comfort and entertainment of visitors to Paris. The Faubourg St. 
Honore and the Champs-Elysees are occupied by the mansions of 
the aristocracy of wealth, while the Faubourg St. Germain is more 
or less sacred to the aristocracy of blood, and contains most of the 
embassies and ministerial offices. The Quartier Latin or Quartier 
des Ecoles, which adjoins the Faubourg St. Germain on the E., 
owes its name to the fact of its being the seat of the university and 
of many of the scientific institutions of Paris. It also contains sev- 
eral of the chief libraries. 

The principal Communes Annexbes, or outlying districts within 
the fortifications, but not incorporated with the city till 1860, are 
the following, enumerated from E. to W. : Bercy, carrying on an ex- 
tensive wine and export trade ; Charonne, Menilmontant, Belleville, 
La Villette, La Chapelle, and Montmartre, the principal quarters of 
the working classes and the seat of the largest workshops ; Les Ba- 
tignolles, with the studios of numerous artists and many handsome 
private houses (on the side next the Park of Monceau); Passy and 
Auteuil, with their villas ; Grenelle, with iron foundries and chemical 
works ; Vaugirard, Montrouge, etc. , inhabited by persons of moderate 
means, small shopkeepers, and artisans, and containing numerous 
large market-gardens. 

The Administration of Paris is shared between a Prefect of the 
Seine, appointed by government, and a Town Council (Conseil Mu- 
nicipal), elected by the citizens. The annual budget amounts to 
350,000,000 fr. (upwards of 10,000,0002.). The city is subdivided 
into twenty Arrond'issements, separated from each other by the 
principal arteries of traffic, and each governed by a Maire and two 
councillors: 1. Louvre; 2. Bourse; 3. Temple ; 4. Hotel de Ville ; 
5. Pantheon; 6. Luxembourg; 7. Palais - Bourbon ; 8. Elysee ; 
9. Opera; 10. Enclos St. Laurent; 11. Popincourt; 12. Reuilly; 
13. Gobelins; 14. Observatoire ; 15. Vaugirard; 16. Passy; 17. 
B atignolles- Monceau ; 18. Butte- Montmartre ; 19. Buttes-Chaumont ; 
20. Menilmontant. 

The Fortifications of Paris, constructed in 1840-44, were 
greatly extended after 1871. The inner Enceinte is 21 M. in length, 
and is strengthened by bastions, a moat, and a glacis. A series of 
seventeen Forts Detaches, at different distances from the city, up to 
a maximum of 2 M., forms a second enceinte, while a second line 
of forts, at a greater distance from the ramparts, has also been con- 
structed on the heights commanding the valley of the Seine. The area 



IV. GENERAL REMARKS. xxv 

included within this elaborate system of fortifications is 400 sq. M. 
in extent, and besides the capital itself embraces the seven towns 
of Versailles, Sceaux, Villeneuve-St-Georges, St. Denis, Argenteuil, 
Enghien, and St. Germain-en-Laye. — The garrison of Paris consists 
of 40 regiments of infantry, 12 of cavalry, and 5 of artillery. 



As a rule the Parisian may be said to invite and deserve the 
confidence of travellers. Accustomed by long usage to their pre- 
sence, he is skilful in catering for their wants, and recommends 
himself to them by his politeness and complaisance. In return the 
traveller in France should accustom himself to the inevitable ViJ 
vous plait', when ordering refreshments at a cafe or restaurant, or 
making any request. It is also customary to address persons even of 
humble station as '•Monsieur', '■Madame 1 , or l Mademoiselle* . 

The Sergents de Ville, or Gardiens de la Paix, who are to be 
met with in every street and public resort, are always ready to 
give information when civilly questioned. Visitors should avoid the 
less frequented districts after night-fall, and, as a general rule, it is 
not advisable to linger even in other quarters later than 1 a.m. They 
should also be on their guard against the huge army of pickpockets 
and other rogues, who are quick to recognize the stranger and skilful 
in taking advantage of his ignorance. It is perhaps unnecessary 
specially to mention the card-sharpers sometimes met with in the 
suburban and other trains, or the various other dangers to purse and 
health which the French metropolis shares with other large towns. 

The Parisian directory, published annually, and familiarly known 
as the k Bottiri, which may be consulted at the principal hotels and 
cafes and also (for a fee of 10-15 c.) at various book-shops, will often 
be found useful by those who make a prolonged stay at Paris. It con- 
sists of two huge volumes, one of which contains a list of the streets 
and their inhabitants , while the other gives the addresses of the 
most important persons in the provinces, and even of a number of 
persons in foreign countries. 

All strangers intending to settle in Paris must make a Declaration of 
their intention, with proof of their identity, within fifteen days, at the 
Prefecture de Police, 36 Quai des Orfevres (Palais de Justice), between 
10 and 4. Foreigners who intend to practise any trade, business, or pro- 
fession in Paris or other part of France must also make a declaration to 
that effect within a week. 



Paris, 'la Ville-Lumiere', is not only the political metropolis of 
France, but also the centre of the artistic, scientific, commercial, 
and industrial life of the nation. Almost every branch of French 
industry is represented here, from the fine-art handicrafts to the 
construction of powerful machinery ; but Paris is specially known 
for its 'articles de luxe' of all kinds. 

Paris has long enjoyed the reputation of being the most cosmo- 



xxvi IV. GENERAL REMARKS. 

politan city in Europe, where the artist, the scholar, the merchant, 
and the votary of pleasure alike find the most abundant scope for 
their pursuits. Nor does this boast apply to modern times only ; as 
early as the 12th cent, the 'Twelve Masters of Paris' played in 
mediaeval poetry a role analogous to that of the Seven Sages in ancient 
Greece. For its early cosmopolitan character the city was chiefly 
indebted to its University, to which students of all nationalities 
nocked in order to be initiated into the mysteries of the scholasticism 
which was taught here by its most accomplished professors. At the 
same time industrial and commercial pursuits made rapid strides, 
in consequence of which the population increased Tapidly, and an 
extension of the municipal boundaries was repeatedly rendered ne- 
cessary. The early economic development of Paris is farther attested 
by the great 'Foire du Lendit' (p. 281), which was held each June 
in the plain between Paris and St. Denis, and by the famous 'Livre 
des Metiers', or trades - regulations, edited by Etienne Boyleau in 
1258. Of the great buildings of that period little now remains but a 
few religious edifices (Notre-Dame, Ste. Chapelle, Tour St. Jacques). 
Towards the close of the middle ages the adverse fortunes of the 
French kings frequently compelled them to give up their residence 
in the capital; but the municipal element continued all the more 
steadily to develop itself, and, as the preponderating characteristic, 
gave birth to that 'esprit parisien', which found expression in French 
literature. 

For a brief period, with the beginning of the Renaissance at the 
end of the 15th cent., the arts threatened to desert Paris; numerous 
lordly chateaux were built in the provinces, especially in Touraine. 
But by the middle of the 16th cent, the capital had already regained 
all its prestige in this domain. The Louvre, the Tuileries, and the 
Hotel de Ville, the three master-pieces of the second Renaissance and 
the centres of political life, date from this period, as do also the Palais 
du Luxembourg and the Palais- Cardinal (the present Palais- Boy at). 

The zenith of the monarchy under Louis XIV (p. xvii) was natur- 
ally favourable to the extension and embellishment of the capital. If 
the king was in a position to say 'l'Etat c'est moi', Paris no less truly 
absorbed all the vital forces of the nation. Many of the most charac- 
teristic monuments of Paris date from this reign, including the Colon- 
nade of the Louvre, the Place Vendome, the Hotel des Invalides, and 
upwards of thirty churches. Characteristic of this period also are the 
great 'hotels' or mansions of the nobility, which proudly stand back 
from the streets and transport into the very heart of the city some of 
the majestic isolation of a country-seat. Aiming at no exterior effect, 
but all the more sumptuous and luxurious within, they stand in ab- 
solute contrast with the Italian palazzi (e.g. Hotel Lambert, p. 269). 
— The Pantheon and the Palais- Bourbon are among the chief build- 
ings of the 18th century. 

During the Revolution and the period immediately succeeding 



IV. GENERAL REMARKS. xxvii 

it (1789-1804) the unquestioned predominance of Paris, received a 
temporary check from the political disorganisation of the day ; but 
under the Directory (1795), and particularly during the First 
Empire (1804-14), the city speedily regained its pre-eminence. The 
artistic and other booty of the Napoleonic campaigns was devoted to 
the embellishment of the capital, while the emperor sought to distract 
the restless political spirit of the Parisians by a feverish activity in 
the construction of public edifices. He began the N. wing uniting 
the Louvre and the Tuileries, laid out the Rue de Rivoli, and built the 
Bourse. Under his orders new squares, bridges, and quays were every- 
where begun, though most of them were left unfinished. 

During the somewhat inglorious period of the Restoration 
(1814-30), Paris enjoyed a golden era of prosperity. France had 
entered upon the enjoyment of the rich heritage of glory bequeathed 
by the Revolution and the First Empire, without feeling the heavy 
sacrifices that it had cost. The blessings of peace appeared doubly 
desirable after their long absence. At this epoch liberal politicians 
achieved their greatest triumphs, French literature and art used their 
utmost endeavours to resume their world-wide sway, and French 
society exhibited itself in its most refined and amiable aspect. In 
more than one of the sciences, Paris led the way. 

The July Monarchy (1830-48) continued the same general 
course, though with less success. Louis-Philippe resumed with new 
ardour the completion of the modern Paris begun by Napoleon. Over 
100 million francs were spent in his reign on new streets, churches, 
public buildings, bridges, sewers, squares, etc. 

But under Napoleon III. (President of the Republic in 1848, 
Emperor 1852 - 70) , Paris underwent a transformation on a scale 
of magnificence hitherto unparalleled. Napoleon appointed Georges 
Eugene Haussmann (1809-91) to be Prefect of the Seine, and under 
his directions dense masses of houses and numbers of tortuous streets 
were replaced by broad boulevards, spacious squares, and palatial 
edifices. A beginning was made with the great arteries of traffic 
running N. and S. : the Boulevards de Strasbourg and de Sebastopol 
(p. 84) on the right bank, and the Boulevards du Palais (p. 26 L) 
and St. Michel (p. 269) in the He de la Cite and on the left bank. 
These were followed by the Boulevards Haussmann (p. 220) and 
de Magenta (p. 85) on the right bank, the Boul. St. Germain (p. 300) 
on the left bank, the prolongations of the Rues de Rivoli (p. 173), 
de Turbigo, de Lafayette, etc., and the laying out of the magnificent 
quarter around the park of the Champs-Elysees. The Louvre (p. 92) 
and the Bibliotheque Nationale (p. 201) were enlarged; the Holies 
Centrales (p. 194) and the Tribunal de Commerce (p. 264) were built ; 
and the Opera (p. 79) was begun. Haussmann was ably seconded 
by the engineer Ad. Alphand (1817-91), who was entrusted with the 
care of the parks and public promenades. To Alphand's skill are due 
the laying out of the Bois de Boulogne (p. 236), the Bois de Vin- 



xxviii IV. GENERAL REMARKS. 

cennes (p. 256), the Pare Monceau (p. 222), the Buttes-Chaumont 
(p. 240), and many of the square-gardens. 

The enormous municipal debt incurred by these extensive altera- 
tions was farther increased by the war of 1870-71 and by the excesses 
of the Commune. This sufficiently accounts for the slackened activity 
under the Third Republic. Yet Paris was not content with ad- 
equately completing works already begun, such as the Opera; import- 
ant new streets were laid out, the Hotel de Ville (p. 175) was rebuilt 
on an enlarged scale, and the Palais du Trocadero (p. 230), the new 
Sorbonne (p. 280), and many educational structures were erected. 
The Basilique du Sacre- Coeur at Montrnartre (p. 214j is the most 
imposing religious edifice of this period. The Pare de Montsouris 
(p. 338), many new squares, and the important undertaking of the 
Metropolitain (p. 30) also date from this period. Finally, the public 
parks and gardens have been converted into a kind of museum of 
modern art, by the erection in them of the Sculptures purchased by 
the city at the annual exhibitions (p. 44). 

Modern Paris has been criticised for the uniformity of its general 
appearance. But the truth is that the more closely the city is studied 
the more striking becomes its extraordinary variety. Some quarters, 
with their sombre and deserted palaces, are vaguely reminiscent of 
old Italian towns; others are noisy and gay with an outdoor life 
recalling the sunny south; while others again (e.g. Rue de Venise, 
Rue des Francs-Bourgeois, etc.), picturesque or gloomy, transport us 
back to the middle ages. The Seine, with its flotilla of merchant 
ships and barges, conveys, especially after dark, the impression of a 
sea-port. The boulevards at night, with their electric lights and bril- 
liant illuminations, suggest a city of pleasure, always en fete. And the 
charming environs, with the woods of Boulogne, Vincennes, Meudon, 
and Montmorency, add a final touch to the variety that is one of the 
charms of the seductive capital, which no one quits without regret. 

The beauty of Paris has been celebrated by French writers of all 
ages and by many foreigners. We finish by quoting Montaigne, whose 
quaint and picturesque language is thus translated by John Florio : 
'Paris hath my hart from my infancy, whereof it hath befalne me as 
of excellent things : the more other faire arid stately cities I have seene 
since, the more hir beauty hath power and doth still usurpingly gaine 
upon my affection. I love her so tenderly, that even hir spotts, her 
blemishes, and hir warts are deare unto me'. 



V. Weights and Measures. 











a 


n use 


since 1799.) 
















<0 


43 


OJ 

1 


to 


on 




OS 


00 




W 


03 


to 


to 


i 


-"S 


~o 


1 




<0 







Tic 


£ 


1 


"ill 


U) 


s 

o 


a 

o 


W> 


ca 

u 


eg 

o 




a> 


a 


3d 


-« 


d 


a 


9 


£ 


a 




a) 


0) 


u 


m 


a 


S 


m 


H 


M 


H 


< 


W 


w 


< 


1 


0,30 


1 


3,28 


1 


1,61 


1 


0,62 


1 


0,40 


1 


2,47 


2 


0,61 


2 


6,56 


2 


3,22 


2 


1,24 


2 


0,81 


2 


4,94 


3 


0,91 


3 


9,84 


3 


4,83 


3 


1,86 


3 


1,21 


3 


7,41 


4 


1,22 


4 


13,12 


4 


6.44 


4 


2,48 


4 


1,61 


4 


9,8S 


5 


1,52 


5 


16,40 


5 


8,04 


5 


3,10 


5 


2,02 


5 


12,36 


6 


1,83 


6 


19,69 


6 


9,65 


6 


3,73 


6 


2,42 


6 


14,82 


7 


2,13 


7 


22,97 


7 


11,26 


7 


4,35 


7 


2,83 


7 


17,30 


8 


2,44 


8 


26,25 


8 


12,87 


8 


4,97 


8 


3,23 


8 


19,77 


9 


2,74 


9 


29,63 


9 


14,68 


9 


5,69 


9 


3,63 


9 


22,24 


10 


3,04 


10 


32,81 


10 


16,09 


10 


6,21 


10 


4,04 


10 


24,71 


11 


3,35 


11 


36,09 


11 


17,70 


11 


6,83 


11 


4,44 


11 


27,19 


12 


3,66 


12 


39,37 


12 


19,31 


12 


7,45 


12 


4,85 


12 


29,65 


13 


3,96 


13 


42,65 


13 


20,92 


13 


8,07 


13 


5,25 


13 


32,12 


14 


4,27 


14 


45,93 


14 


22,53 


14 


8,69 


14 


5,66 


14 


34,59 


15 


4,57 


15 


49,21 


15 


24,13 


15 


9,31 


15 


6,06 


15 


37,05 


16 


4,88 


16 


52,49 


16 


25,74 


16 


9,93 


16 


6,46 


16 


39,53 


17 


5,18 


17 


55,78 


17 


27,35 


17 


10,55 


17 


6,87 


17 


42,00 


18 


5,49 


18 


59,06 


18 


28,96 


18 


11,18 


18 


7,27 


18 


44,47 


19 


6,79 


10 


62,34 


19 


30,67 


19 


11,80 


19 


7,67 


19 


46,96 


20 


6,10 


20 


65,62 


20 


32,18 


20 


12,42 


20 


8,08 


20 


49,42 



The English equivalents of the French weights and measures 
are given approximately. 

Miliier = 1000 kilogrammes = 19 cwt. 2 qrs. 22 lbs. 6 oz. 
Kilogramme , unit of weight , = 2y 5 lbs. avoirdupois = 

27/tolbs. troy. 
Quintal = 10 myriagrammes = 100 kilogrammes = 220 lbs. 
Hectogramme (^o kilogramme) = 10 decagrammes = 100 gr. 
= 1000 decigrammes. (100 grammes = 3^5 oz. ; 15 gr. 
*= 1/2 oz. ; 10 gr. = 1/3 oz. ; 1% gr. = i/ 4 oz.) 



Hectolitre = !/ 10 cubic metre = 100 litres = 22 gallons. 
Decalitre = Ykjo cubic metre = 10 litres = 2*/ 5 gals. 
Litre, unit of capacity, = l 3 / 4 pint; 8 litres = 7 quarts. 



V. THERMOMETRY SCALES. 



Thermometric Scales. 



5 
a 
% 


§ 


OS 

.2 


1 

(8 


"53 



u 


CO 

.2 

05 


pi 

a 


"3 
§ 


to 
"on 


! 


"3 

•s 


CO 

.5 

"to 


N» 


t6 


V 


ND 


eg 


® 


v» 


cS 


« 


NB 


e3 


"3 


P3 


ft 


O 


« 


ft 


O 


« 


ft 


O 


tf 


ft 


o 


+30,22 


+100 


+37,78 


+21,78 


+81 


+27,22 


+13,33 


+62 


+16,67 


+4,89 


+43 


+6,11 


29,78 


99 


37,22 


21,33 


80 


26,67 


12,89 


61 


16,11 


4,44 


42 


5,56 


29,33 


98 


36,67 


20,89 


79 


26,11 


12,44 


60 


15,56 


4,00 


41 


5,00 


28,89 


97 


36,11 


20,44 


78 


25,56 


12,00 


59 


15,00 


3,56 


40 


4,44 


28,44 


96 


35,56 


20,00 


77 


25,00 


11,56 


58 


14,44 


3,11 


39 


3,89 


28,00 


95 


35,00 


19,56 


76 


24,44 


11,11 


57 


18,89 


2,67 


38 


3,33 


27,56 


94 


34,44 


19,11 


75 


23,89 


10,67 


56 


13,33 


2,22 


37 


2,78 


27, il 


93 


33,89 


18,67 


74 


23,33 


10,22 


55 


12,78 


1,78 


36 


2,22 


26,67 


92 


33,33 


18,22 


73 


22,78 


9,78 


54 


12,22 


1,33 


35 


1,61 


26,22 


91 


32,78 


17,78 


72 


22,22 


9,33 


53 


11,67 


0,89 


34 


1,11 


25,78 


90 


32,22 


17,33 


71 


21,67 


8,89 


52 


11,11 


0,44 


33 


0,56 


25,33 


89 


31,67 


16,89 


70 


21,11 


8,44 


51 


10,56 


0,00 


32 


0,00 


24,89 


88 


31,11 


16,44 


69 


20,56 


8,00 


50 


10,00 


-0,44 


31 


-0,56 


24,44 


87 


30,56 


16,00 


68 


20,00 


7,56 


49 


9,44 


0,89 


30 


1,11 


24,00 


86 


30,00 


15,56 


67 


19,44 


7,11 


48 


8,89 


1,33 


29 


1,67 


23,56 


85 


29,44 


15,11 


66 


18,89 


6,67 


47 


8,33 


1,78 


28 


2,22 


23,li 


84 


23,89 


14,67 


65 


18,33 


6,22 


46 


7,78 


2,22 


27 


2,78 


22,67 


83 


28,33 


14,22 


64 


17,78 


5,78 


45 


7,22 


2,67 


26 


3 33 


22,22 


82 


27,78 


13,78 


63 


17,22 


5,33 


44 6,67 


3,li 


25 


3,89 



VI. Bibliography. 

The following is a very brief list of recent and easily accessible 
English books on Paris, which will he fonnd useful supplements 
to this Handbook. 

The Stones of Paris in History and Letters, by B. E. and C. M. 

Martin (2 vols., illustrated; London, 1900). 
Historical Guide to Paris, by Grant Allen (London, 1898). 
Paris, by Augustus J. C. Hare (2 vols. ; 2nd ed., London, 1900). 
Days near Paris, by Aug. J. C. Hare (London, 1887). 
Memorable Paris Houses, by Wilmot Harrison (illus. ; London, 

1893). 
Paris and its Story, by Thos. Oakey (illus.; London, 1905). 
Some Memories of Paris, by F. Adolphus (Edinburgh, 1895). 
Paris, by Hilaire Belloc (London, 1900,). 
The Life of Paris, by Richard Whiteing (London, 1900). 
Were and How to Dine in Paris, by Rowland Strong (London, 1900). 
Old and New Paris, by H. Sutherland Edwards (2 vols. ; illus. ; 

London, 1893). 
Paris in Old and Present Times, by Philip Gilbert Hamerton (folio, 

illus. ; London, 1885). 



Vn. REMARKS ON NORTHERN FRANCE. xxxi 

The Manual of French Law, by H. Cleveland Coxe, is an alpha- 
betical handbook to French law as it affects foreigners. 



The 'Annuaire Statistiqne de la Yille de Paris' and 'Hachette's 
Almanac' will often be found of service. 



VII. Remarks on Northern France. 

The majority of visitors to Paris will find comparatively little to 
interest them in the provinces of Northern France. The scenery is 
seldom so attractive as to induce a prolonged stay, while the 
towns are mere repetitions of the metropolis on a small scale. 
The modern taste for improvement , which has been so strongly 
developed and so magnificently gratified in Paris, has also mani- 
fested itself in the provincial towns. Broad and straight streets 
with attractive shop -windows are rapidly superseding old and 
crooked lanes ; whole quarters of towns are being demolished, and 
large, regular squares taking their place ; while the ramparts of 
ancient fortifications have been converted into boulevards, faintly 
resembling those at Paris. Admirably adapted as these utilitarian 
changes doubtless are to the requirements of the age, it cannot 
but be deeply regretted that the few characteristic remnants of 
antiquity which survived the storms of the wars of the Huguenots 
and the great Revolution , and have hitherto resisted the mighty 
centralising influence of the metropolis, are now rapidly vanishing . 

The towns of France, as a rule, present less variety than those 
of most other countries. They almost invariably rejoice in their 
boulevards, glass-arcades, 'jardins des plantes', theatres, and cafes, 
all of which are feeble reproductions of their great Parisian models. 
Each also possesses its museum of natural history, its collection 
of casts and antiquities, and its picture-gallery, the latter usually 
consisting of a few modern pictures and a number of mediocre 
works of the 17th and 18th centuries. 

The magnificent churches, however, which many of these towns 
possess, offer attractions not to be disregarded by even the most 
hasty traveller. The Gothic style, which originated in France, has 
attained a high degree of perfection in the northern provinces, espe- 
cially in Normandy, which was a district of great importance in the 
middle ages. Architects will find abundant material here for the 
most interesting studies, and even the amateur cannot fail to be 
impressed by the gems of Gothic architecture, such as St. Ouen at 
Rouen, or the cathedral of Chartres, notwithstanding the alterations 
which most of them have undergone. The Huguenots made de- 
plorable havoc in the interiors of the churches, and the Revolution 
followed their example and converted the sacred edifices into 'Tern- 



xxxii VII. REMARKS ON NORTHERN FRANCE. 

pies of Reason'. The task of restoring and preserving these noble 
monuments has been begun and is now everywhere progressing. 

Hotels of the highest class and fitted up with every modern 
comfort are found in such towns only as Havre, Rouen, Dieppe, and 
Tours, where the influx of visitors is very great, and where the 
charges are quite on a Parisian scale. In other places the inns 
generally retain their primitive provincial characteristics, which, 
were it not for their frequent want of cleanliness, might prove 
rather an attraction than otherwise. The usual charges at houses 
of the latter description are — room, inch light and attendance, 2^2- 
3 fr. The table d'hote dinner (3-4 fr.) at 5.30 or 6 o'clock is generally 
better than a repast procured at other places or hours. The dejeuner 
(172-2 fr.) at 10 or 11 o'clock will be regarded as superfluous by 
most English travellers, especially as it occupies a considerable 
time during the best part of the day. A slight luncheon at a cafe, 
which may be partaken of at any hour , will be found far more 
convenient and expeditious. In southern districts, as on the 
Loire , wine is usually included in the charge for dinner. In 
Normandy a kind of cider is frequently drunk in addition to, or 
as a substitute for wine. The usual fee for attendance at hotels 
is 1 fr. per day , if no charge is made in the bill ; if service is 
charged, 50 c. a day in addition is generally expected. At the cafe's 
also the waiters expect a trifling gratuity, but the obnoxious system 
is not carried to such an extent as in the metropolis. 

The Churches, especially the more important, are open the 
whole day; but, as divine service is usually performed in the 
morning and evening, the traveller will find the middle of the day 
or the afternoon the most favourable time for visiting them. The 
attendance of the sacristan , or 'Suisse' , is seldom necessary ; 
the usual gratuity is 50 c. 

Considerable English communities are resident in many of the 
towns mentioned in the Handbook, and opportunities of attending 
English churches are frequent (e.g. at Calais, Boulogne, Dieppe, 
Havre, and Rouen). 

The Museums are generally open to the public on Sundays 
and Thursdays from 12 to 4 o'clock, when they are often crowded. 
Visitors may always obtain access at other times for a gratuity 
(1 fr.). Catalogues may be borrowed from the concierge. 

A fuller account of N. France is given in Baedeker's Handbook 
to Northern France. 



Sketch of French Art 

by 
De. Waltheb. Gensel. 

The earliest achievements of art in France, as illustrated in the 
historical museum at Saint- Germain -en -Lave, possess hut little 
interest for the majority of visitors to Paris ; even the monuments 
of the Gallo-Roman period and of the Merovingian and Carlovingian 
epochs are of real importance only to the professed archaeologist. 
The ordinary art-lover finds little to attract him in French art "before 
the close of the 9th century. About the year 1000, however, its 
Romanesque churches and sculptures placed France in the front 
rank of artistic nations; a century and a half later Gothic art arose 
in Northern France, where it speedily attained its earliest and 
finest perfection; during the Renaissance period French artists 
produced works, notably in the domains of profane architecture 
and sculpture, which need not shrink from comparison with Italian 
works of the same date; in the 17th and 18th centuries Paris 
was the home of an imposingly gorgeous decorative art, which com- 
pelled the admiration and emulation of the rest of Europe; and 
since the Revolution the dominant currents of modern art have 
flowed from the same centre. The course of the vast development 
thus indicated abounds in vicissitudes, and it is the object of the 
following sketch to throw some light upon the various stages. For 
the study of French architecture Paris by itself is insufficient; but 
for painting and sculpture an exceptionally rich field of study is 
afforded by the Louvre, the Luxembourg, the Trocadero, and the . 
Musees de Cluny, Carnavalet, and Galliera, supplemented by Ver- 
sailles, St. Denis, and Chantilly in the immediate environs, and 
Fontainebleau and Compiegne a little farther off. 

Among the many causes that contributed to the development of 
Romanesque Aechitectubb may be noted the enormous growth in 
the power of the church; the need of providing fitting shrines for 
the relics brought home by the numerous pilgrims; the necessity 
of rebuilding the churches burned by the Northmen, and the effort 
to make the new churches larger and more lasting than their pre- 
decessors ; and, perhaps, also the relief experienced all over Christen- 
dom on the lapse of the year 1000 , which had been universally 
expected to bring the end of the world. Romanesque architecture 
adhered in general to the fundamental forms of the Roman basilica, 
though at the same time it developed these and incorporated with 
them Byzantine, French, and Saracenic elements. In the North at 

Baedeker. Paris. 16th Edit. G 



sxxiv FRENCH ART. 

least the arrangement of a nave betwixt lower aisles, with the former 
supported "by pillars instead of columns , is practically universal. 
The transepts project hut slightly beyond the aisles , and, in the 
French examples, almost invariably terminate in a straight line. 
The simple apse is developed into a choir, frequently with radiating 
chapels. Many churches possess a vestibule, in some cases forming 
practically an anterior nave. The edifice is crowned by a square, 
an octagonal, or (more rarely) a circular tower, rising above the cross- 
ing , or on one side of the choir , or in the centre of the facade. 
Occasionally two, three, or even six towers are found. But the main 
distinguishing feature of the fully developed Romanesque style is 
the vault. The tunnel- vaulting of antiquity is universal in South 
Eastern France and was there most persistently adhered to ; but in 
Burgundy and Northern France, where at first the choir and aisles 
only were vaulted, the nave receiving a flat roof, a transition was 
made at an early period to the groined vault, the full importance of 
which, however, was not at first recognized. Finally, in South 
Western France we find domed structures, recalling San Marco at 
Yenice, the most prominent of which is the church of St. Front at 
Perigueux. The most celebrated Romanesque churches in France are 
St. Sernin at Toulouse and Ste. Foy at Conques in the S., Notre-Dame- 
du-Port at Clermont-Ferrand and St. Paul at Issoire in Auvergne, 
St. Philibert at Tournus and Ste. Madeleine at Vezelay in Burgundy, 
St. Etienne and the Trinite at Caen in the North West, Notre- 
Dame at Poitiers in the West, and Ste. Croix at Bordeaux in the 
South West. 

The substitution of heavy stone vaulting for the earlier wooden 
roofs involved a substantial increase in the thickness of the walls 
and a very great reduction in the size of the windows and other 
light- openings. The result was somewhat heavy and sombre, and 
an endeavour to relieve this effect was made by the free use of 
painting and sculpture. In the interior, sculptures were chiefly 
placed on the capitals of the pillars; on the exterior, at first in the 
pediment , or tympanum , over the portal , but later on the entire 
facade. Byzantine influence manifests itself in Southern France not 
only in the exaggerated length of the figures and in the peculiar 
arrangement of the folds of the drapery , but also in the preference 
shown for chimaeras, dragons, quadrupeds with human heads, and 
similar monsters. The sculptors of Burgundy and Auvergne, however, 
early developed a certain measure of independence and began to 
utilize the native flora and fauna as patterns for carvings. The exe- 
cution is still generally clumsy, but the dignity of the general result, 
the feeling for decorative effect, the rich play of fancy, the profound 
sincerity and delightful abandon of the sculptors, all lead us to 
prize these 'Bibles in stone' as the significant heralds of a great art. 
Every lover of art will be richly repaid by a close study of the por- 
tals and capitals of St. Gilles, St. Trophime at Aries, the monastery 



FRENCH ART. xxxv 

of Moissac , and the churches of Autun, Charlieu, and Vezelay , for 
which an opportunity is afforded hy the casts in the Trocadero Museum. 

The original paintings in the Romanesque churches have utterly 
disappeared, with the exception of a few fragments at Tours, Poi- 
tiers, Liget, and some other spots; hut numerous miniatures of the 
period have heen preserved. Industrial art was at a comparatively 
low ebh during the Romanesque period; hut a promising beginning 
may he detected in the work of the goldsmiths and in the allied art 
of enamelling, as well as in the emhroidering of tapestry. 

"We have seen how the employment of the Romanesque vaulting 
led to the darkening of church-interiors. However welcome this 
may have been in the vivid sunlight of the south, it suited ill with 
the misty climate of the north. An escape from this disadvantage 
was found when the architects realized that they might build their 
naves as wide and as high as they chose and pierce their walls with 
as many windows as they desired, if only the piers that supported 
the vaulting were sufficiently strengthened from without, above the 
aisles. The invention of ordinary and flying buttresses led to the 
rise of a new architecture, that was to prevail in the north for over 
three centuries ; and thatinvention was made in the Isle de France, in 
the centre of Northern France. The French, therefore, have some show 
of reason on their side when they attempt to displace the originally 
contemptuous name of Gothic Art in favour of the title 'French 
Art'. Light could now be admitted so freely that the churches 
seemed almost 'built of light', to borrow a phrase once applied to 
the Sainte Chapelle at Paris. The huge windows were now univer- 
sally and naturally set in the pointed arches originally borrowed 
from the East ; and their gradual adornment with richer and richer 
tracery; the embellishment of the buttresses with bosses and crockets, 
and of the pediments with fmials ; the prolongation of the nave into 
the choir and of the aisles into the ambulatory; and the enhanced 
size and importance accorded to the crossing and the transepts are 
all characteristic features of the Gothic style that were practically 
inevitable. 

The extraordinarily rapid and rich development of the new art 
was most powerfully fostered by the contemporaneous growth in 
the power of the towns , which is evidenced by the fairs of Troyes, 
Beaucaire, and St. Denis, and by the rise and progress of the trade- 
guilds. Just as the French Romanesque churches arose chiefly in 
connection with the monasteries (especially Cistercian and Cluniac 
monasteries) and bore a priestly stamp, so the Gothic cathedrals 
typify the strength and prosperity of the towns and , in spite of all 
their heavenward aspiration, breathe the joy of mundane life. No 
town was willing to lag behind the rest, so the wondrous buildings 
arose in every quarter. 

"Whether Gothic art attained its highest development in France 
is a somewhat unfruitful question , for every answer must be more 



xxxvi FRENCH ART. 

or less dictated by personal taste. There is, however, no doubt that 
in France it reached its earliest period of bloom. And the earliest 
examples, in which there are evident traces of a mighty struggle, 
naturally attract the student first and retain his interest longest. 
The transition from Romanesque to Gothic may be traced in the 
abbey church of St. Denis, consecrated by Abbot Suger in the 
year 1140. The earliest purely Gothic cathedral of large size is that 
of Laon, with its incomparably spacious interior. Notre Dame at 
Paris and the cathedral of Chartres were both founded in the 12th 
century, while Bheims and Amiens belong wholly to the 13th. In all 
these, as contrasted with later buildings, the horizontal line is strongly 
emphasized. The facade of Notre Dame rises in five distinct stories. 
One cannot too much admire the taste and skill with which the 
architect has graduated these, from the elaborate portals lying closest 
to the eye, up to the severely simple towers. Unfortunately much of 
the original effect has been lost, owing to the ill-advised modern 
isolation of the church, which deprives it of its foil, and also owing 
to the erection of huge modern piles in the neighbourhood. All the 
same, Notre Dame and the cathedrals of Chartres, Rheims, and 
Amiens attain the high-wattr mark of early Gothic. The older 
bell-tower and the spacious interior of Chartres produce a sin- 
gularly impressive effect, while Bheims is imposing from the bound- 
less wealth of its sculptures; but Amiens is, perhaps, the most 
harmonious of the large cathedrals and one of the most perfect 
buildings of the middle ages , in the consistency and the uni- 
formity of its construction and in its union of boldness with self- 
restraint, of dignity with grace. Amongst the other chief mon- 
uments of this fabulously active period we may mention the 
cathedrals of Beauvais, Bouen, Le Mans, Tours, Bourges, Troyes, 
Auxerre, and Dijon. The most famous examples of late-Gothic 
('style rayonnant'; 14th cent.) are the church of St. Ouen at 
Bouen in the North, and the cathedral of AIM in the South. Free- 
dom has been fully achieved ; the general effect suggests a consum- 
mate mastery over the difficulties of the forms. The horizontal 
line seems to have disappeared from view ; the building towers 
towards heaven as if detached from earth. Rut this development 
concealed within itself the germ of decline. The cleverest arith- 
metician became at last the greatest builder , works of art degene- 
rated into artful devices, over-elaboration usurped the place of 
simple delight in richness, and the loving handling of detail sank 
into pettiness and pedantry. 

Secular architecture developed more slowly and therefore enjoyed 
a longer period of bloom than ecclesiastical. The most imposing 
Gothic castles belong to the 14th century : viz. the palace of the Popes 
at Avignon and the castle of Pierrefonds, so successfully restored 
by Viollet-le-Duc. No other civic palace can bear comparison with 
the noble Palais de Justice at Bouen , founded as late as the close 



FRENCH ART. xxxvii 

of the 15th century. The most beautiful private mansions are the 
Hotel Jacques Cceur at Bourges (details at the Trocade*ro) and 
the Parisian residence of the Abbots of Oluny (now the Muse'e de 
Oluny) at Paris. 

As the 13th century marks the zenith of Gothic architecture in 
France, so it also marks the first great period of French Sculpture. 
'lam convinced', says the Marquis de Laborde, 'that the Gothic 
sculptors would have advanced to the ideal beauty, and even to the 
boldest study of the nude, had that been the object sought by their 
contemporaries ; but the desire then was for typical forms of search- 
ing truth, suffering and mystic in aspect, clad with the conventual 
shyness that was the fashion of the time.' These works are not at 
first easily understood by those who approach them direct from a 
study of the antique or of the Renaissance. We must lose ourselves 
in contemplating them, before they will begin to speak to us. These 
Christs , Madonnas , and Apostles are monumental figures in the 
truest sense of the phrase , with their supramundane expression of 
countenance , their simple yet significant gestures , and the scanty 
folds of their robes, which adapt themselves so wonderfully to the 
architecture. The Death of the Virgin in Notre Dame at Paris, the 
figures on the facade of Chartres, and the 'Beau Dieu^ of Amiens 
are among the most prognant sculptures of all time (casts at the 
Trocadero). But so strict a feeling of style cannot maintain itself 
long. Either it will degenerate into a system of empty formulae, or 
it will be broken down by the victorious pressure of realism. The 
latter was the case here. The Naturalistic Reaction which set in 
in the 14th century exercised a destructive effect upon ecclesiastical 
sculpture, but on the other hand wrought for good on the sepulchral 
monuments, as may be traced in the crypt of St. Denis. It may, 
however, be questioned whether, left to themselves, the French 
sculptors could have attained the high level on which we find this 
new tendency at the close of the 14th century. Salvation came from 
the north, the same north in which a little later the painters Van 
Eyck produced their masterpieces. A number of Flemish artists were 
then working at the court of the French kings — Pepin of Huy near 
Liege, Beauneveu of Valenciennes, Paul of Limburg, Jacquemart of 
Hesdin. The most renowned, however, was the Burgundian school, 
with Claux Sluter at its head. The Moses fountain, the statues on 
the facade of the Chartreuse near Dijon, and the tomb of Philip the 
Bold, which Sluter executed in 1387 et seq. with the aid of his 
pupils Jean de Marville and Claux de Werwe, may be boldly placed 
beside the works of Donatello, who flourished more than a genera- 
tion later. The famous statuettes of 'Pleureurs' from the tomb of 
Philip, well-known from numerous reproductions, may be compared 
with the larger mourners from the contemporary tomb of Philippe 
Pot in the Louvre. The latter tomb and the wonderful altar at Aix are 
now usually attributed to Jacques Morel, who is supposed to have 



xxxviii FRENCH ART. 

been the sculptor of the unfortunately mutilated sepulchral statues 
of Charles I. of Bourbon and his consort at Souvigny. Casts of most 
of these works may be seen at the Trocadero. 

Decorative Sculpture naturally found its most favourable 
field for development in the cathedrals, especially in the choir- 
apses. In late- Gothic (Flamboyant Style; 15th cent.) the work of 
the stone-carver overshadowed and almost smothered that of the 
architect. The rood-screens at Troyes and Limoges and the library 
staircase in Rouen may be mentioned among famous works in the 
interior of cathedrals. Side by side with sculpture in stone advances 
wood-carving , which manifests its finest results in the facades of 
private houses, on screens and chests, but above all on choir-stalls 
(Amiens). Finally some good carving in ivory was also achieved, 
e.g. the Coronation of the Yirgin in the Louvre. 

The extraordinary poverty that prevailed in the department of 
Painting at this time stands in curious contrast to the well-being 
enjoyed by sculpture and architecture, though this remark must be 
limited to fresco-painting and easel-painting. While the Van Eycks, 
Van der Weyden, and Memling were busily engaged in Flanders, 
and while in Italy the quattrocento beheld these branches of painting 
advancing from stage to stage, we can discover in France only a 
few names and almost fewer works. On the other hand the long- 
established art of miniature-painting now reached its highest point. 
The MSS. illuminated about 1400 for the Duke of Berri, the cruel 
but no less splendour-loving third son of John II., are veritable 
gems. The finest of these, now one of the most precious treasures 
at Chantilly, is beyond question the Livre d'Heures, with its land- 
scapes, views of castles, and genre-scenes. But even in this case 
the artists were 'Franco-Flemings' — - the above-mentioned Beau- 
neveu, Jacquemart, and Paul. Glass Painting also enjoyed a brilliant 
development in the Gothic period. The illumination pouring from all 
sides into the churches through the tall upright lights and the great 
rose-windows that had been developed from the ancient 'oculi', re- 
quired to be subdued, while the windows themselves had to be 
embellished. The finest stained glass of the 12th century in France is 
in the windows of the W. facade of Chartres, and the finest of the 
13th century is in the rose-windows of Notre- Dame (north portal), 
Rheims, Bourges, and Tours, and in the windows of the cathedrals 
of Le Mans and Chartres and of the exquisite Sainte Chapelle at Paris. 
The connection between glass-painting and painting proper is, how- 
ever, not very close ; the glass-painters are more concernedwiththe 
colour-effect of the whole than with accuracy in the drawing and 
colouring of details ; they think nothing of giving a man yellow hair 
and a green beard. The more technically perfect the painting be- 
came at a later period, the more completely was the naive sense of 
colour lost. 

The art of Enamelling is another branch of painting that was 



FRENCH ART. xxxix 

carried to a high point of perfection in this period, especially 
at Limoges. The 12th and 13th centuries saw the zenith of 'Email 
Chanipleve', in which the artist engraves the designs upon the metal 
plate and fills in the lines or grooves with enamel (Ital. smalto ; Fr. 
email); while the 14th and 15th centuries saw the perfection of 
'Email Translucide', in which the entire plate is covered with a thin 
coating of enamel, allowing the engraved design to shine through. 
Finally, the weaving of Tapbstbt attained to great perfection during 
the 15th century in the workshops of Arras, Aubusson, and Paris. 
The finest example of this period now to be found in Paris is the 
series illustrating the romance of the Lady and the Unicorn, in the 
Musee de Oluny. 

In spite, however, of the fact that some artists produced great 
works during the first half of the 15th century, signs of exhaustion 
had already begun to appear. Gothic architecture continued, indeed, 
to be practised after the beginning of the 16th century, as is 
proved by the choir-apses at Amiens and Chartres, the Grosse Horloge 
at Rouen, and the Tour St. Jacques and the church of St. Merri at 
Paris; but on the whole it had by that time outlived its mandate, 
and even Franco-Flemish art had said its last word in the works of 
Sluter. "What L. Courajod calls a 'relaxation of realism' awakened 
a strong desire for beauty and nobility of form — a desire that 
could be satisfied only from the South. As early as 1450 the 
greatest artists were under the influence of the Italian Renais- 
sance. Elements from both the North and the South are found 
strangely mingled in Jean Fouequet of Tours (b. 1415) , the most 
important French painter of this period, who had spent several years 
in Italy and painted the portrait of Pope Eugenius IV. The Livre 
d'Heures painted by Fouequet for Etienne Chevalier, and now at 
Chantilly, is one of the most exquisite creations in the whole range 
of miniature -painting; while the portraits of the Chancellor des 
Ursins and Charles VII in the Louvre proclaim the same artist as 
a great portrait-painter. Two of his younger contemporaries — Jean 
Bourdichon, who painted the famous Heures of Anne of Brittany, 
and Jean Perreal — had also visited Italy. The centre of French 
art at this period was Tours, and here also worked Michel Colombe 
(d. 1512), the most celebrated sculptor of the time. Colombe's chief 
work is the tomb of Francis II. , Duke of Brittany, in Nantes, and 
some authorities are inclined to ascribe to him also the expressive 
Entombment at Solesmes. Casts of both these works are at the Tro- 
cadero, while the Louvre contains an original work of Colombe (St. 
George and the Dragon). 

The relations of the court, but more particularly the Italian cam- 
paigns of the French kings, turned the scale. Charles YIII brought 
back with him not only paintings but painters, and under Louis XI 
began that great immigration of Italian artists into France which 
culminated under Francis I. In 1507 Andrea Solario painted the 



xl FRENCH ART. 

chapel of Chateau Gaillon ; in 1516 Leonardo da Vinci came to France, 
in 1518 Andrea del Sarto, in 1530 Rosso, in 1531 Primaticcio. 

The result, the French Renaissance, did not wholly come up 
to expectation — least of all in the domain of painting. The plant, 
which in Italy itself had passed its best, could put forth only a few 
feeble blossoms when transplanted to a foreign soil. The freely 
restored paintings by Rosso, Primaticcio, and Niccolo dell' Ablate at 
Fontainebleau (School of Fontainebleau) reveal, it may be, a strong 
sense of decorative effect, but in the details they are steeped in af- 
fectation. The Frenchman Jean Cousin, whose Last Judgment in 
the Louvre has been extolled beyond its merits, was really little 
more than a skilful master of foreshortening. The only really at- 
tractive painters of this century are Jean Clouet (d. ca. 1540) and 
his son Francois Clouet (d. 1572), surnamed Janet, and both are 
remarkable for having remained almost entirely free from Italian 
influence, manifesting a certain early-French dryness in their por- 
traits (Bibliotheque Nationale, Louvre, Chantilly). 

The fate of Aechitectuke was more fortunate. The native aTt, 
instead of simply abdicating in favour of the foreign mode, was strong 
enough to combine with it to form a new and distinctive style. The 
architectural styles under Francis I. and Henri II have a character 
of their own. If an error was formerly made in ascribing all the 
sumptuous buildings of Francis I. to Italian architects, such as Fra 
Giocondo and Boccadoro, modern criticism seems to have overshot 
the mark in denying these foreigners almost any share in them Some 
buildings indeed, such as Fontainebleau, seem now to have been 
definitively restored to native architects, but in the case of others, 
e.g. the Hotel de Yille at Paris, it is still uncertain whether the 
'maitre macon' mentioned in the original documents was not merely 
the builder or the successor of the Italian 'architecte'. Among the 
most illustrious names of the French Renaissance are those of Pierre 
Lescot (Louvre, Musee Carna valet), PMlibert de VOrme (Chateau 
dAnet, the portal of which is now in the court of the Ecole des 
Beaux-Arts ; Tuileries), Pierre Chambiges (Fontainebleau and S t.Ger- 
main-en-Laye), Jean Bullant (Chateau d'Ecouen ; Chantilly), and 
the Bucerceau family, headed by the famous theorist and draughts- 
man of that name. Building was most actively carried on in Tou- 
raine, where there arose in rapid succession the chateaux of Cham- 
bord, Chenonceaux, and Blois, with its transcendently beautiful 
staircase. The chateau of Gaillon near Rouen, now utterly demol- 
ished, must have been one of the finest castles of its time. 
Ecclesiastical architecture claims few important works at this 
period, with the exception of St. Eustache at Paris, the church of 
Gisors, and the noble choir of St. Pierre at Caen, the masterpiece 
of Hector Sohier. The Hotel Bourgtheroulde at Rouen (partly Gothic) 
and the Maison Francois Premier in Paris are conspicuous examples 
of domestic architecture. Under Francis I traces of the old native 



FRENCH ART. xli 

architecture are still abundant; turrets and corner-pavilions, lofty 
chimneys, round and elliptical arches, all occur in conjunction 
with columns and pilasters. But the style of Henri II has already 
passed wholly into the region of the classical orders, albeit with a few 
modifications in the earlier French taste. A calm and measured 
regularity has taken the place of the former gay fancy. 

The number of Italian Sculftobs engaged in France at the be- 
ginning of the 16th century is almost larger than that of the architects. 
Girolamo delta Robbia embellished the Chateau de Madrid (now 
destroyed) on the confines of the Bois de Boulogne ; Cellini, who 
sojourned in France in 1537 and again in 1540-45, there chiselled 
his great Nymph of Fontainebleau (now in the Louvre) ; and there 
were others only less famous. The three Juste (property Betti) 
were Florentines, who flourished at Dol about 1500 but afterwards 
succeeded to the inheritance of Michel Colombe at Tours. Their 
chief work is the tomb of Louis XII at St. Denis, with two re- 
presentations of the deceased (nude recumbent figure below; kneel- 
ing figure clad in ermine above), bas-reliefs, and allegorical figures 
at the corners. This arrangement was the model for many later 
tombs. But the three greatest sculptors of the French Renaissance 
are Frenchmen — Pierre Bontemps, Jean Goujon, and Germain 
Pilon. To Bontemps, less well-known than his contemporaries 
but certainly not inferior to them, is due the exquisite urn contain- 
ing the heart of Francis I., and perhaps also the execution of 
most of the tomb of that king at St. Denis, designed by Phil, de 
l'Orme. No lover of art will forget Goujon's bas-reliefs or his 
charming nymphs on the Fontaine des Innocents at Paris, whose 
slender forms with their masterly drapery harmonize so wonderfully 
with the space allotted to them. His caryatides in the Louvre are 
perhaps the most beautiful works in all modern art. The famous 
'Diana' in the Louvre is especially characteristic of his style as well 
as of the taste of the period. Finally we may mention the 'gisant' 
on the monument of Cardinal de Breze at Rouen, as a wonderfully 
realistic youthful work by Goujon. The magnificent counterpart of 
this monument (which was executed by Jean Cousin) is the adja- 
cent tomb of the two Cardinals d'Amboise , the bewilderingly rich 
architecture of which was designed by Rolland Leroux (1520-25). 
Pilon's name is inseparably connected with the tomb of Henri II 
at St. Denis, though he was not the only artist employed upon it. 
The poignantly realistic 'gisants', and the powerful kneeling bronze 
statues of the royal pair are equally admirable. The kneeling figure 
of the chancellor Birague and the Dead Christ in the Louvre are 
also full of character, whereas the three Cardinal Virtues supporting 
the urn with the heart of Henri II are distinctly inferior to similar 
figures by Goujon. 

Amongst the productions of industrial art at this period our at- 
tention is specially aroused by the Enamels and the Fayencb. The 



xlii FRENCH ART. 

art of enamelling entered upon a new stage with the invention of 
enamel painting and became secularized; i.e. instead of enamelled 
altar-pieces, paxes, and reliquaries we find plates, vases, and cups. 
The new Limoges School was founded by Monvaerni and Nardon Peni- 
caud and reached its zenith under Leonard Limousin, Pierre Rey- 
mond, and Jean Penicaud the Younger. The now growing inclination 
towards portraits in enamel and the reproduction of entire pictures 
cannot but seem a mistake, and even the above-mentioned masters 
were most successful when they restricted themselves to purely de- 
corative work. While Italian influence soon made itself evident 
amongst the enamels, ceramic art remained purely French. The 
products of Gubbio, Deruta, or Urbino have little in common with 
the elegant ivory- like fayence of Saint Porchaire, or with the 
dishes decorated with monsters, fish, and the like by Bernard Palissy 
(d. 1590), unique both as a man and as an artist, or with the pot- 
tery of Rouen, Nevers, or Moustiers. We now also meet with ad- 
mirable works in the domains of cabinet-making, goldsmith's work, 
and pewter work {Fr. Briot; d. after 1600), as well as among bronzes 
and medals, while the arts of glass-painting {Pinaigrier and Jean 
Cousin; in St. Gervais, St. EHenne-du-Mont , etc.) and tapestry- 
weaving show no falling off. The Renaissance nobly continued the 
traditions of the Gothic period in investing even the humblest ob- 
jects with an artistic charm, and that in a higher degree than ever 
before. 

The Reigns of Henri IY and Louis XHI were not very rich in 
great works of art. The ecclesiastical Architecture of the period 
is characterized by the facade of St. Gervais, in which the colonnades 
of different orders placed one above the other suggest a grammatical 
exercise. Salomon Debrosse, its builder, was also the architect of 
the Palais du Luxembourg, which is imposing in spite of its 
heaviness. Debrosse was older than the two more celebrated ar- 
chitects, Jacques Lemercier, builder of the Palais Cardinal (now the 
Palais Royal), the church of St. Roch, and the Sorbonne, and Man- 
sart, who designed the older portion of the Bibliotheqe Nationale 
and the dome of the Yal-de-Grace, though his reputation is chiefly 
as a builder of palaces (Maisons near St. Germain, etc.). Mansart 
was the inventor of 'mansard' roofs. The oldest parts of Paris now 
existing owe their characteristic appearance to this period, from 
which also date a considerable number of the older private man- 
sions, with facades uniformly rising from enclosed courts entered 
by lofty gateways. A characteristic survival of the period is the 
Place des Yosges, which presents an exceedingly monotonous effect 
in spite of the alternation of brick and stone. 

The most influential Sculptors were now Jean Bologne or Gio- 
vanni da Bologna (b. at Douai; d. 1608) and his pupils (Franche- 
vilte, Be Vries, Duquesnoy, Van Opstal), all of whom were, com- 
pletely Italianized. A more individual and a more French style 



FRENCH ART. xliii 

was shown by Barthelemy Prieur (d. 1611 ; Montmorency monument 
in the Louvre) and by Pierre Biard (d. 1609), to whom we find a 
difficulty in attributing two such different works as the elegant 
rood-loft in St. Etienne-du-Mont and the energetically realistic 
Goddess of Fame in the Louvre. In the succeeding generation these 
were followed by Simon Guillain (d. 1658; bronze statues from the- 
Pontau Change, in the Louvre), Jacques Sarrazin(d. 1660 ; caryatides 
in the Louvre), Gilles Guerin (d.1678), and finally, and above all, the 
brothers Francois and Michel Anguier (d. 1669 and 1686). The chief 
works of Francois, which vary in excellence, are his numerous tombs 
{e.g. those of De Thou and Longueville in the Louvre); Michel's 
best work is now to be seen in the external and internal embellish- 
ment of the Val-de-Grace (the Nativity is now in St. Roch) and in 
the sculptures on the Porte St. Denis. Almost all the sculptors of 
the 'Siecle Louis XIV studied the works of these sculptors, who 
themselves saw the beginning of that age. 

Practically only one of the Coue,t Painters of this time has re- 
tained his fame through the succeeding centuries, viz. Simon Vouet 
(1590-1649), who formed himself in Italy on Paolo Veronese and 
Guido Reni. The scanty remains of Vouet's decorative painting re- 
veal a love of bold colour and considerable skill in dealing with large 
surfaces, but his religious easel-pictures are for us devoid of all at- 
traction. Nicolas Poussin (1594-1665) and Claude Lorrain (1600- 
1682), the two greatest painters, worked in Rome, far from France 
and the French court. It is not easy to mete out justice to the works 
of Poussin, at one time extravagantly over-praised and now fre- 
quently under-estimated. The elegant expression of a high-bred 
sentiment was his chief aim, and in contrast to the superficiality 
of most of his contemporaries, this effort is doubly grateful. But 
his religious pictures seem cold to us, owing to his frequent borrow- 
ings from the antique and the Renaissance, and the over-elabor- 
ation of his composition , in which we might almost inscribe 
geometrical figures. His landscapes, such as the 'Orpheus', the 
'Diogenes', and the 'Seasons', are more inspiring, though their colour- 
ing has unfortunately faded. Claude Lorrain's *scene-paintings are 
as indifferent to us to-day as his petty mythological figures. But 
he depicted atmospheric phenomena with a boldness, and blended 
local colours into a general tone with a skill, that had no rivals un- 
til the days of Turner and Corot. The modern cry for 'atmosphere 
and light' is here clearly uttered for the first time. The works of 
EustacheLe Sueur (1617-55), the 'French Raphael', appeal to us as 
more essentially religious than Poussin's. A deep and true piety 
breathes from the 'Life of St. Bruno'. The age of the wars of religion 
was also the age of Francois de Sales, the apostle of love, and of Vin- 
cent de Paul, the friend of the sick and the poor. We may compare 
the too sentimental paintings of Le Sueur with the vigorous works 
of Philippe de Champaigne (of Brussels, 1602-74), who was connected 



xliv FRENCH ART. 

with the convent at Port Royal. The latter is, however, more 
attractive as a portrait-painter. 

It is difficult to select the right standpoint to view the Art op 
Louis XIV. After the king's assumption of the reins of government 
(1661), a thoroughly monarchic art begins. Opposition to all inde- 
pendent efforts, and an abrupt hostility to everything foreign and 
even to the mass of the people at home distinguish this 'golden age'. 
The 'Roi Soleil' is a Roman Imperator, the heroes of the tragedies 
are Romans, art also must be Roman. The 'Academie' founded in 
1648 developed in sharpest contrast with the 'maitrises', or old 
guilds. Everything was reduced to formulas. But this cold and 
pompous art had something grand in its uniformity, its self-con- 
fidence, and its definiteness of aim ; and the effect was heightened 
not only by the personalities of the king and his minister Colbert, 
but still more by the art-dictatorship of Charles Le Brun (1619-90). 
However unmoved Le Brun's paintings may leave us, there is 
something singularly imposing, almost recalling the universal 
geniuses of the Renaissance, in the manner in which he designed 
the magnificent decorations of the Galerie des Glaces at Versailles 
and the Galerie d'Apollon in the Louvre, sketched groups in bronze 
and marble for the sculptors, and painted and drew patterns for his 
Manufacture des Gobelins, which then included nearly every branch 
of industrial art. The bronzes by Coyzevox, the cabinets by Boule, 
the mirrors by Cucci, the arabesques by Berain all harmonize 
with Le Brun's ceiling-paintings, just as these harmonize with the 
buildings of Mansart and the gardens of Le Notre, and as the entire 
creative art of the period harmonizes with the tragedies of Racine. 
Art as a whole must be regarded as a setting for the court of 
Louis XIV, but it is a decorative art of the very highest rank. 

The Architecture of the period is much less satisfactory. 
Perrault's famous colonnade at the Louvre now exoites as little 
enthusiasm as the fatiguing facade of the palace at Versailles by 
J. Hardouin- Mansart (1645-1709) oras the Palais des Invalides by 
Bruant. The great dome of the Invalides by Mansart and that of 
the Val-de-Grace, now at last completed, are, however, honourable 
exceptions to the rule. "With Painting it is much the same. "Who 
now cares for La Fosse, Jouvenet, or Coy f el? The portrait-painters 
Mignard, Largilliere, and Big aud — all admirably represented at 
the Louvre — are, however, still interesting. Sculpture occupies 
a much higher position. However absurd Voltaire's dictum may 
now appear, that Francois Girardon (1628-1715) had 'attained to 
all the perfection of the antique', we cannot refuse our admiration 
to that sculptor's tomb of Richelieu (in the church of the Sor- 
bonne), his 'Rape of Proserpine' and statues of rivers, and above 
all to his charming leaden relief of 'Diana at the bath', in the park 
of Versailles. With him may be named a crowd of others : Legros, 
Le Hongre, the two Marsy, Desjardins, Lepautre, Van Cleve, Tuby, 



FRENCH ART. xlv 

Theodon, Mazeline, and Hurtrelle. A more important name than 
Girardon's is that of Charles Antoine Coyzevox (1640-1720). His 
most prominent works are his large tomhs, especially those of Cardinal 
Mazarin (now in the Louvre) and Colbert (in St. Eustache) ; bat 
his other works merit close inspection for their masterly treatment 
and their union of charm and elegance of conception. Among these 
may be mentioned the horses in the Place de la Concorde, the bronze 
statue of Louis XIV (Muse'e Camavalet), the 'Nymph with the shell', 
and numerous busts (in the Louvre). Nicolas and Guillaume Coustou 
(1658-1733 and 1677-1746), his pupils, who assisted him in the 
execution of the 'Vow of Louis XIII' in Notre Dame, belong partly 
to the following epoch. Among the chief works of Nicolas Coustou 
rank the figures of the Rhone and Saone at the Tuileries and the 
Caesar in the Louvre ; among those of Guillaume are the admirable 
Marly horses in the Place de la Concorde and the tomb of Cardinal 
Dubois in St. Roch. Of the sculptors of the 17th century, however, 
the French themselves think most highly of Pierre Puget (1622-94), 
who studied under Bernini and worked at Toulon. His compositions, 
notably the 'Milo of Croton' in the Louvre , produce a strong im- 
pression, in spite of their exaggerated pathos. 

The reaction against this stiff and grandiose art was not long of 
coming. Louis XIV was succeeded by Louis XV, the pious Mme. 
de Maintenon was followed by the dissipated Regent and a little later 
by Mme. de Pompadour. We may date the prevalence of the art called 
by the French 'Dix-Huitieme', from the beginning of the Regency 
(1715) to the death of the Pompadour (1764). It was a super- 
ficial, gallant, and dissipated art , the charm of which , however, 
cannot be denied. It is the faithful reflection of the age. Everything 
harmonizes : the gorgeous but comfortable apartments, in the decorat- 
ion of which Oppenordt and Meissonier excelled ; the charming villas 
for gallant rendezvous ; the pale blue, sea-green, and rose-pink paint- 
ing; the cabinets with their rich bronze ornaments; the chairs and 
sofas, with their gilt carvings and luxurious silken upholstery ; the 
terracottas and the porcelain statuettes from the factory at Sevres ; 
and indeed even the costumes of the pleasure-loving, immoral, 
yet charming society, with its powder and patches. Everything 
that was formerly straight is now bent in the most wanton manner 
and embellished with all manner of flourishes and scrolls ['rococo 1 
from rocaille, shell); every door-knob seems to be designed for the 
pressure of a delicate feminine hand. After a brief reign (for as 
early as 1763 Grimm writes that everything was then made 'a la 
grecque') the rococo style gave place to the Style Louis XVI, 
which in France at least always retained delicate and graceful 
forms. The cabinets of this period (by Oeben, Riesener, Beneman, 
and others), decorated with the daintiest Inlaid designs, are now 
almost more highly prized than the earlier works by Cressant and 
Caffieri. 



xM FRENCH ART. 

The earliest and also the greatest painter of the 'Dix-Huiti3me' is 
Antoine Watteau (1684-1721), who came to Paris in his eighteenth 
year to assist in the decoration of the Opera House and speedily 
rose to fame by his representations of 'Fetes Qalantes 1 . In his scenes 
of rural festivals and in his figures from Italian comedy ('Embark- 
ation for Cythera'; *Gilles' ; both in the Louvre) this master is 
unapproached. In both , he is the faithful mirror of his age , but 
his magical colouring sheds such a poetic glamour, that we seem to 
be transported into a fairyland full of roguish grace and pleasant 
dalliance. His successors, Lancret and Pater, are skilful and charm- 
ing artists , but are seldom inspired by even a breath of the poetry 
of "Watteau. The truest representative of the Pompadour epoch is 
Francois Boucher (1703-70). A study of his numerous pictures in 
the Louvre is not enough for a proper estimation of this artist, for 
it is chiefly as a decorative painter, in his ceilings and panels, that 
he reveals his character. Next to Boucher rank Fragonard and 
Baudouin, whose drawings especially are prized. The 18th century 
was rich in portrait-painters also, the first place being claimed by 
the pastel painter Quentin de La Tour (1704-88), 'the magician', as 
Diderot calls him. The strikingly lifelike and characteristic portraits 
by this master are the chief boast of the musee of St. Quentin, 
his native town; while the charmingly graceful female portraits by 
Nattier are among the attractions of Versailles . 

Here also reaction set in early, Boucher himself lived to hear 
the thundering philippic of Diderot, who re-christened the 'painter 
of the graces' as the 'painter of demireps'. But this verdict was 
moral, not aesthetic. Emotionalism was simply the transition from 
frivolity to the Spartan virtue of the Revolution. Diderot had found 
a man after his own heart in Jean Baptiste Greuze (1725-1805), 
whose 'Rustic Bride' and 'Prodigal Son' practically synchronized 
with Diderot's 'Natural Son' and Rousseau's 'Helo'ise'. Greuze re- 
mains to this day a popular favourite, not, however, on account of 
these moral pictures with their hard colouring, but on account of 
his paintings of girls ('The Broken Pitcher' ; the 'Milkmaid', etc.), 
in whose grace there are still traces of the sensuous charm of the 
preceding epoch. More important as a painter is Greuze's elder 
contemporary Jean Baptiste Simeon Chardin (1699-1779), one of 
the best painters of still-life that ever lived, an excellent portrait- 
painter, and an acute, amiable, and original observer of simple 
domestic scenes ('Grace', the 'Industrious Mother', etc., in the 
Louvre). The true forerunners of the later classicism were, however, 
at this period Vien, the teacher of David, Cochin, and Hubert Robert, 
with his views of Roman ruins. 

The rococo style never thoroughly permeated the art of Sculp- 
ture. Allegrain, with his nymphs, and Clodion, with his sensuously 
animated terracotta groups of Bacchantes, Satyrs, and Cupids, touch 
upon its outskirts in the soft grace and 'morbidezza' of their methods 



III. HISTORY. xv 

Normandy, but had to yield Ms throne to Robert (922-23), brother 
of Eudes, who was followed by his son-in-law Raoul (923-936). The 
last three Carlovingians, Louis IV., d'Outremer (936-954), Lothaire 
(954-986), and Louis V., le Faineant (986-987), were less powerful 
than the Dukes of France, Hugh the Great, son of Robert, and Hugh 
Capet. 

Capetian Dynasty. Hugh Capet was the founder of the third 
or Capetian Dynasty (987). He began the construction of the old 
royal palace on the site of the present Palais de Justice (p. 261). — 
Under Robert II., le Pieux (996-1031), Henri I. (1031-60), and 
Philip I. (1060-1108), France suffered from internal discord and 
wars with the dukes of Normandy. First Crusade, under Godfrey de 
Bouillon, 1096. — Louis VI., le Gros (1108-1137), encouraged 
the establishment of 'communes', as a check upon the power of the 
nobles. His minister was Suger, Abbot of St. Denis (p. 381). This 
king built a palace on the site now occupied by the Louvre. — 
Louis VII, le Jeune (1137-80), takes part in the Second Crusade 
(1147). His divorced wife, Eleanor of Guienne and Poitou, marries 
Henry Plantagenet, afterwards Henry H. of England. ~= Philip II, 
Auguste (1180-1223), undertakes the Third Crusade, in company 
with Richard Coeur-de-Lion, 1189. On his return he attacks the 
English possessions in France, and defeats the English, Flemish, 
and German troops at Bouvines in 1214. Paris was considerably 
extended in this reign and surrounded with a wall. — Louis VHI, 
le Lion (1223-26). 

Louis IX, St. Louis (1226-70). This reign may be regarded as 
the most flourishing period in the mediaeval history of France. None 
of the four legitimate estates — king, barons, church, municipalities — 
were unduly strong. Architecture (Gothic style) and poetry flourished. 
Seventh and Eighth Crusades (to Egypt and Tunis). Foundation of 
the Sorbonne (p. 280). — Philip III., le Hardi (1270-85), acquires 
Provence by inheritance. — Philip IV., le Bel (1285-1314), continues 
the struggle against England, and conquers Flanders. Financial dif- 
ficulties complicated by disputes with Pope Boniface VIII., leading 
to the suppression of the order of Knights Templar and the trans- 
ference of the papal residence to Avignon. Public authority ('pouvoir 
publique') takes the place of feudal and ecclesiastical jurisdictions. 
The Etats Generaux convoked for the first time. — Louis X, le 
Hutin (1314-16). — Philip V, le Long (1316-22). — Charles IV, 
le Bel (1322-28), dies without issue. 

House of Valois. — Philip VI (1328-50). War with England, 
1337 ('Guerre de Cent Ans', 1337-1453]. Battle of Crecy, 1346. 

John II. , le Bon (1350-64); defeated and taken prisoner by 
the English at Poitiers, 1356. Etienne Marcel, pre'vot des marchands, 
extends the fortifications of Paris and organizes the citizens for its 
defence, but is slain by an adherent of the Dauphin (1358). Peace 
of Bretigny, 1360. 



xvi III. HISTORY. 

Charles V, le Sage (1364-80). The English expelled hy Bert- 
rand du Guesclin. Foundation of the Bibliotheque Rationale and the 
Bastille. Extension and re-forti ft cation of Paris. 

Charles VI, le Bkn-Aime (1380 -1423), becomes insane in 1392. 
The Flemings defeated at Rosbecque, 1382. Paris, like the rest of 
France, torn by the factions of the Armagnacs. The French under the 
Constable d'Albret defeated by Henry V. of England at Agincourt, 
1415. Paris occupied by the English, 1421. 

. Charles VII, le Victorieux (1422-61). The siege of Orleans 
raised by Joan of Arc, 1429. Coronation at Rheims. Joan burned 
at Rouen, 1431. Calais the only English possession in France. 

Louis XI (1461-83), after suppressing the Ligue du Bien Public, 
succeeds in establishing the administrative and territorial unity of 
the country. Burgundy, Franche-Comte, Artois, and Provence are 
added to the French crown. Introduction of printing and establish- 
ment of a post-office. 

Charles VIII, V Affable (1483-98) acquires Brittany by his mar- 
riage with Anne de Bretagne. Conquest of Naples, 1495. Paris 
scourged by famine and plague. 

Louis XII (1498-1515), 'le pere du peuple\ first king of the 
younger branch of the House of Valois (Valois-Orleans), conqueror 
of Milan and (in alliance with the Spaniards) of Naples. Having 
quarrelled with his Spanish allies, he is defeated by them on the 
Oarigliano (1503), in a battle in which Bayard takes part. The 
League of Cambrai is formed for the purpose of expelling the 
Venetians from the mainland of Italy. The Venetians are defeated 
at Agnadello, 1509 ; but they succeed in destroying the League, and 
defeat the French at Ravenna, 1512. 

Francis I (1515-47) , of the second branch of the House of 
Valois (Valois -Angonleme), defeats the Swiss at Marignano and 
recovers the Duchy of Milan. Four wars with Charles V. for the 
possession of Burgundy and Milan. Francis defeated and taken 
prisoner at Pavia, 1525. The king was a patron of art and adorned 
and improved Paris. The palace of the Louvre and the Hotel de Ville 
were begun in this reign, many new buildings erected, churches 
restored, and fortifications extended. 

Henri II (1547-59), husband of Catherine de Medicis, accident- 
ally killed at a tournament (p. 191). Metz, Toul, and Verdun 
annexed to France, 1556. Final expulsion of the English. 

Francis II. (1559-60), husband of Mary Stuart of Scotland. 

Charles IX (1560-74), brother of Francis II. Regency of 
Catherine de Medicis, the king's mother. Beginning of the Religious 
Wars. Louis de Conde*, Antoine de Navarre, and Admiral Coligny, 
leaders of the Huguenots ; Francois de Guise and Charles de Lorraine 
command the Roman Catholic army. Massacre of St. Bartholomew, 
24th August, .1572. Building of the Tuileries. 



FRENCH ART. xlvii 

of treatment; but side by side with them stand such artists as 
Bouchardon, the 'French Phidias', with his Grrenelle Fountain, 
which may almost be termed severe. Pigalle (1714-85) pays un- 
restrained homage to the pictorial taste of the period in the tombs of 
Marshal Saxe (StrassburgJ and the Comte d'Harcourt (Notre Dame), 
as well as in the monument of Louis XV at Rheims, but he also 
expresses its philosophical ideas in his allegorical compositions, and 
makes his bow to the antique in the nude statue of Voltaire (p. 290). 
The amiable Pajou (1730-1809) vacillates between antique severity 
and French grace, between frivolity and sentiment, in his Pluto, 
Bacchante, and statue of Queen Marie Lesczinska as Oaritas (in the 
Louvre). A similar vacillation is shown by Falconet, who may be 
better studied in St. Petersburg than in Paris. Lemoyne (Louvre, 
Versailles) and Caffieri (d. 1792; busts of Rotrou, La Chaussee, 
J. B. Rousseau, etc.) are admirable portrait-sculptors, but both are 
far excelled by Jean Antoine Houdon (1741-1828), whose seated 
statue of Voltaire is one of the masterpieces of realistic portraiture, 
and whose 'Diana' (bronze replica in the Louvre of the original 
marble in St. Petersburg) is among the most perfect nude figures 
in modern art. 

The transition to classicism was most easily accomplished in 
Architecture. To be convinced that at least in the case of great 
religious and secular edifices the frivolous fashionable taste was left 
far behind , we need glance only at the facade of St. Sulpice by 
Servandoni (1733) , the poital of St. Eustache by Mansart de Jouy 
(1755), the Ecole Militaire (1756)) the buildings on the Place de la 
Concorde by Gabriel (1772), and the Pantheon, begun by Soufflot 
in 1764. The writings of the Jesuit Langier (1753) , the architect 
Blondel (1756), and the archaeologists Mariette and Caylus, and 
finally and above all the excavations at Pompeii and Herculaneum 
and the reports of visitors to these spots , speedily assisted the 
classical tendency to gain a decided victory. 

Thus the appearance of Jacques Loui3 David (1748-1825) does 
not signalize a complete revolution, as was at one time assumed, but 
the close of a decade of development ('Belisarius', 1781; 'Oath of 
the Horatii', 1785). His significance lies in the fact that he deduced 
the logical consequences and elevated them with adamantine strict- 
ness into a law of universal application. Individuality was once more 
repressed , and all art once more reduced to a formula. The fruits 
of this new Renaissance are before us everywhere to this day. Even 
the most famous pictures (David's 'Leonidas' and 'Rape of the Sabines') 
look like painted copies of bas-reliefs. The artist is in touch with us 
only when he is unfaithful to his own principles, as in the 'Coronation 
of Napoleon' (Louvre), the sketch of 'Marat after death' (Carnavalet), 
and his lifelike portraits. It is the same with the architecture of the 
Revolution and the Empire. 'The Arc de Triomphe du Carrousel', , 
says Saint-Paul, 'is a copy of the aTch of Septimius Severus , the 



xlviii FRENCH ART. 

Vendome Column is a reproduction of Trajan's Column , and the 
Madeleine is a temple which might he dedicated without alteration 
to. Jupiter Capitolinus'. Grace as such seemed to be banished from 
ait. Grenze and Clodion died in pennry, and Fragonard spent his 
last days in painting large allegorical and decorative pieces. 

At first glance the Nineteenth Century presents the appearance 
of a veritable chaos. In previous times the architect either adapted 
the prevailing style to the altered circumstances or developed a 
new one from it. Now , however , he builds in the Greek style to- 
day , in the Renaissance to-morrow , or passes unconcernedly from 
Gothic to baroque. In the same way the painter imitates the Greeks 
or the Italians , Rubens or Rembrandt , the Pre-Raphaelites or the 
Japanese. In the realm of sculpture we find ourselves at one time 
face to face with the most exalted idealism , at another with the 
most uncompromising realism. Our judgment, too, is rendered all 
the more difficult because many of the artists still stand so near us 
in point of time , that we cannot wholly free ourselves from the 
influence of personal inclinations or antipathies. 

In the first quarter of the century the controlling influence in 
the sphere of Painting was that of David. In the year 1800 Guerin 
(d. 1833), the most thorough-going pupil of David, attained an extra- 
ordinary success with his 'Marcus Sextus'. Afterwards he devoted 
himself mainly to thepainting of tragic scenes. Oirodet (d. 1824), it is 
true, selected romantic subjects (the 'Deluge', 'Burial of Atala'), but 
adhered to the relief-like execution and statuesque repose of his 
master. Gerard (d. 1837), who appeals to us mainly by his attractive 
portraits of women, is somewhat freer in style. His 'Cupid and 
Psyche' naturally excited universal admiration in a generation for 
whom Canova's group of the same subject was the highest expression 
of art. Gros (d. 1835) passes for a forerunner of romanticism; but 
the warmer colouring and livelier movement of his battle-scenes do 
not blind us to his numerous weaknesses. An exceptional position 
is occupied by Prud'hon (d. 1823), who, in his charming 'Psyche' 
and his dramatic 'Revenge and Justice', produced a novel and pleas- 
ing effect by combining the artistic traditions of the 18th century 
with suggestions borrowed from Correggio. 

The first great innovator, the first romanticist properly so called, 
was Theodore Gericault (1791-1824) , whose paintings of soldiers 
and hoTses announce, still more clearly than his 'Raft of the Me- 
dusa', the dawning of a new conception. There is practically no 
sense in the expression 'Romantic School' unless we translate 
'romanticism' as meaning simply 'love of liberty'. A better appel- 
lation is School of 1830. The one common bond among the masters 
of this period, many of whom carried on violent feuds with each 
other, was their passion for independence. "With few exceptions, 
however, they sought for freedom in form and colour only; they 
did not dare to take their subjects from the life around them, but 



FRENCH ART. xlix 

found them in the history and legend of the middle ages, in the 
pages of the poets (Dante, Tasso, Shakespeare, Goethe, Byron), 
or in the scenes of the distant Orient. Raphael was the model for 
one set, Rubens and Yeronese for another. 

Eugene Delacroix (1798-1863) and Jean Auguste Dominique 
Ingres (1780-1867) are not only the two greatest masters of this 
period hut also represent its opposite poles. For Delacroix every 
picture assumed the form of a hrilliant symphony of colours, so that 
his enemies asserted that he painted with 'an intoxicated hroom' ; 
Ingres, on the contrary, considered that the 'integrity of art' depended 
upon the drawing. While the former honoured Rubens above all 
other masters, the latter saw in the great Fleming 'something of a 
butcher' and held it blasphemy to compare Rembrandt with Raphael. 
The eternal antithesis between colouring and drawing was, perhaps, 
never so forcibly emphasized as now. Our taste has decided the 
controversy in favour of Delacroix. We feel keen admiration for the 
vigorous colouring of 'Dante's Boat' (1822), the 'Massacre of Chios', 
the 'Barricade', and the 'Crusaders', and count the paintings of the 
Palais Bourbon and St. Sulpice as among the greatest monumental 
works of the century. The 'Apothesis of Homer', on the other hand, 
leaves us cold in spite of its admirable drawing; the beautiful figures 
of 'OEdipus' and 'The Source' excite but a half-hearted admiration; 
and it is only in his portraits that Ingres makes any strong impression 
on us. Perhaps, however, the time will come when this master will 
be again accorded a more prominent place. 

The fame of Horace Vernet (d. 1863), Paul Delaroche (d. 1856), 
Deveria (d. 1865), Couture (d. 1879), and the other historical 
painters of the period has paled very considerably. The recon- 
struction of a historical scene, such as the 'Death of Elizabeth' or 
'Raphael in the Vatican', can satisfy us only when the immediate 
effect causes the artificiality of the process to be forgotten; but none 
of these masters had the strength to accomplish this. The longest 
life will doubtless belong to Vernet's pictures of contemporary history 
at Versailles. Among other masters of the period may be men- 
tioned the somewhat sentimental Ary Scheff er (d. 1858); Leopold 
Robert (d. 1835), who died prematurely but not before he had 
received universal admiration for his cheerful but rather too spick- 
and-span scenes of Italian life ; Decamps (d. 1860), who painted 
glowing pictures of Oriental life and found excellent followers in 
Fromentin, Marilhat, and others ; and Chenavard ( 1808-95) , the 
author of the philosophical cartoons in the Picture Gallery of Lyons. 
A special meed of honour must be paid to Hippolyte Flandrin (d. 
1864), a pupil of Ingres and perhaps the only religious painter of 
modern times whose works reveal a genuinely pious spirit. 

Contemporaneously with this development there arose in France 
a new conception of landscape painting, the so-called Paysage In~ 
time. The aim was to reproduce the play of light and the atmo- 

Baedekee. Paris. 16th Edit. c ~[ 



1 FRENCH ART. 

spheric effects of the fondly noted, though often simple motives of 
one's native land. Theodore Rousseau (d. 1867) is par excellence the 
great painter of trees; Jules Dupre (d. 1889) depicted nature in her 
stormy moods; Charles Daubigny (d. 1878) loved to paint the peace- 
ful hanks of the Oise; Narcisse Diaz (d. 1876) revelled in rustling 
forest glades threaded by glittering heams of sunlight. The greatest 
poet of this group, generally known as the School of Rarbison, 
is Jean Baptiste Corot (1796-1875). No other painter either before 
or since has regarded nature with such an intimate and genial gaze. 
In his pictures the meadows rustle, the birds twitter, the bees 
hum, and the sunbeams glance and play. Lovely nymphs dance in 
morning dew to the music of soft-breathing flutes. Other members 
of the Barbison group are Constant Troyon (d. 1865), vying with 
Rosa Bonheur (d. 1899) as the greatest of the French animal-paint- 
ers, and Jean Francois Millet (1814-1875), the vigorous painter of 
peasant-life, who incarnates so powerfully the spirit of the text 'in 
the sweat of thy face sbalt thou eat bread'. 

Under the Second Empire a number of new tendencies made 
themselves felt. The historical painters, such as Sylvestre and Lu- 
minals (d. 1896), tickled the jaded palates of their contemporaries 
with scenes of horror like 'Nero and Locusta'. Ramon (d. 1874), 
Gerome (d. 1904), and the other 'Neo-Greeks 1 painted genre-scenes 
in antique costume, which allowed them to display their masterly 
treatment of the nude. Cabanel (d. 1889), the more talented Baudry 
(d. 1886 ; decoration of the Opera House) and JDelaunay (d. 1891), 
Henner (d. 1905), and the still living Lefebvre sought for fame in 
the most finished portrayal of the female form divine. Contemporary 
military life was illustrated by Be Neuville (d. 1885) and Regnault, 
the latter of whom fell in the Franco - German war (1871). The 
great popular favourites were, however, Ernest Meissonier (1813-91) 
and Alfred Stevens (1828-1908) of Belgium, two painters of the 
fine and minute who can be confidently ranked with the Dutch 
masters of the 17th century. The former loved to depict the heroes 
of his tiny canvases in the more brilliant costnme of by-gone days ; 
the latter gave a faithful picture of the dress and manners of the 
fashionable women of his own time. An important event for the 
development of art in the following period was the appearance of 
Gustave Courbet (1819-77), who revealed an extraordinary power of 
realism in his 'Burial of Ornans' and other scenes of common life, 
as well as pre-eminent colouristic talents in his great 'Studio', but 
who nevertheless did not possess one spark of poetry. 

Between 1870 and 1890 four artists are specially prominent: 
Edouard Manet (1833-83), Jules Bastien- Lepage (1848-84), Pierre 
Puvis de Chavannes (1824-98), and Gustave Moreau (1826-98). 
Manet made a skilful combination of what he learned from Velaz- 
quez and from the Japanese , and in his vigorous portraits and 
sketches of Paris life became the most zealous protagonist of the 



FRENCH ART. li 

impressionist school, which exerted a deep and beneficial influence 
in spite of its aberrations. Bastien- Lepage applied the prin- 
ciples of impressionism to his powerful pictures of peasant-life. 
Puvis de Chavannes adopted the colouring of the primitive Italians 
and represented an ideal humanity in a series of solemn and broadly 
conceived mural paintings (Sorbonne, Pantheon, Amiens, Rouen, 
Poitiers, Lyons, Marseilles). Moreau presented mystic legends in 
a style of which the delicate colouring glows like a jewel (Muse'e 
Moreau, Luxembourg). 

A survey of the multiform activity of the Painting op To-Day 
may be obtained in the course of visits to the Hotel de Ville, the 
Sorbonne, theMairies, the Luxembourg, the annual Salons, and the 
smaller exhibitions. Here we give only a few hints. The academic 
school, which seeks its end mainly by a conscientious study of form, 
is represented by Laurens (historical paintings), Detaille (battle- 
pieces), Cormon (frescoes in the Jardin desPlantes), Bonnat, Carolus 
Duran, Humbert, Benjamin Constant, and others. In the sharpest 
contrast to these stand the impressionists Degas, Monet, Pissarro, 
Renoir, Raffaelli, and their friends, whose aim is to reproduce a 
momentary effect (Salle Caillebotte at the Luxembourg, Galerie 
Durand-Ruel). Other representatives of impressionism are Boll, 
Oervex, Bochegrosse, and the brilliant colourist Besnard (Ecole de 
Pharmacie). Cazin, Billotte, Pointelin, Menard, and others devote 
themselves to producing melancholy twilight landscapes. Jules 
Breton and Lhermitte are attractive delineators of rural life. Dagnan- 
Bouveret and the younger masters, Cottet, Simon, and Wiry, depict 
the picturesque scenes of Brittany. Symbolism has also found 
numerous disciples among the younger generation. 

To go into the matter of the Graphic Arts would take us too 
far afield. Be it enough to chronicle that recent activity in this 
sphere has been both great and successful , not only in engraving 
(Gaillard, Waltner, Patricot, etc.), which reproduces the ideas of 
others, but still more notably in the original arts of etching in black 
and white or in colours (Bracquemond, F. Rops, Legrand, Lepere, 
Legros, Tissot, Raffaelli) and lithography (Faniin-Latour, Carriere ; 
the posters of Cheret). 

The Sculpture of the 19th cent, runs , on the whole, a course 
parallel with that of painting. Here also the antique style was at 
first all-powerful. Canova, who made many visits to Paris, was the 
master whom all admired and imitated. Few sculptors attained 
anything higher than a frosty correctness. We may name Chaudet 
(d. 1810; 'Paul and Virginia', in the Louvre), Lemot (d. 1827; 
Henri IV. on the Pont Neuf), Dupaty (d. 1825 ; 'Death of Biblis', 
in the Louvre), the exuberantly fertile Bosio (d. 1845) , and Cortot 
(d. 1843; 'The Messenger of Marathon'). To the academic school 
also belongs the once very popular James Pradier (1792-1852), 
known for his Graces at Versailles, his works on the Arc d'Etoileed 



lii FRENCH ART. 

and the Moliere Fountain, and Ms Victories at the Dome des ln- 
valides; but this master possesses a certain grace and vivacity of 
conception which still exercise their charm. Romanticism proper 
played a very subordinate role in sculpture, where the decisive 
part was undoubtedly that taken by realism. Three masters here stand 
in the forefront: Fr. Rude. P. J. David d' Angers, and A. L. Baryt. 
Francois Rude (1784-1855) is the strongest nature of the three; 
he invariably interests, even if he does not always satisfy us. Most 
of Ms creations are tainted with something a little too unquiet, too 
theatrical. Alongside his most expressive statue of Monge at Beaune 
stands the restless Ney of the Place de TObservatoire; his admirable 
Cavaignac in Montparnasse Cemetery contrasts with the very 
questionable figure of 'Napoleon awaking to immortality' at Fixin, 
near Dijon. His most famous work is the 'March Out' on the Arc de 
TEtoile, which breathes the most fiery enthusiasm. The 'Fisher 
Boy' and 'Joan of Arc' in the Louvre also deserve special remark. 
His religious efforts are the least pleasing ('Baptism of Christ' at the 
Madeleine). — Pierre Jean David d' Angers (1788-1856 ; thus named 
from his native town, in contradistinction to the painter J. L. David), 
unlike Rude, always retains a certain air of sober reality. He has 
much in common with Rauch, and like him was fond of representing 
generals in their uniforms and scholars and artists in ideal costume. 
His busts and medallions occur by the hundred at Pere-Lachaise and 
elsewhere, but it is impossible for us to share the enthusiasm with 
which they were regarded by his contemporaries. The fame of the 
great animal sculptor Antoine Louis Sarye (1796-1875) has, on the 
other hand, steadily increased. His larger works, such as the 'Lion 
and Serpent' in the Garden of the Tuileries, have become popular 
idols ; and the original casts of his small bronzes fetch nearly their 
weight in gold. His most successful followers are Fremiet (Jardin 
des Plantes), Cam (Tuileries), and Oardet (Luxembourg, Chantilly, 
etc.). By far the most eminent pupil of Rude is Jean Eaptiste 
Carpeaux (1827-75), who died at a comparatively early age. His 
'Triumph of Flora' at the Louvre, his 'Ugolino' at the Tuileries, 
his vivacious busts, and, most of all, his group of 'Dancing' at the 
Opera, which is inspired by a truly Bacchic gust of existence, and 
his 'Quarters of the Globe' on the Fontaine de TObservatoire assure 
him one of the highest places in the history of modern sculpture. 
(The last can be best studied in the models at the Louvre, which 
clearly reveal the feverish energy of the hand that made them.) 
With the great public the gentle maidens of his contemporary Chapu 
(1833-91) are still more popular (tomb of Regnault in the E cole 
des Beaux-Arts). Among the pupils of David may be mentioned 
Carrier-Belleuse, Cavelier, Maindron, and Aime Millet. 

As we walk to-day through the Luxembourg Gallery, the public 
parks, the cemeteries, and the exhibitions we find, it is true, much 
academic conventionality, but there is also abundant evidence of a 



FRENCH ART. liii 

strong effort to rise above convention and to permeate works of art 
with personal feeling, "besides a technique brought to a high state 
of perfection. The most conspicuous sculptors are Paul Dubois 
(1829-1905), whose marvellously finished forms show the influence 
of the early Italians ; Falguitre (1831-1900), whose fiery Provencal 
nature produces such admirable works as the 'Pegasus' of the 
Square de l'Opera at the same time as such doubtful productions 
as the great figure in the Pantheon; and Mercie (b. 1845), with his 
'Gloria Victis' in the Hotel de Yille and his 'Quand Meme' in the 
Tuileries Garden. Among the many who might be signalized along 
with these we name Ernest Barrias (d. 1905; 'First Funeral', in the 
Hotel de Ville), Ouillaume (d. 1905; monument to Ingres, in the 
Ecole des Beaux -Arts), Ctauk (d. 1906; monument to Adm. 
Ooligny), Boucher ('At the Goal', in the Luxembourg Garden), St. 
Marceaux, and Puech. Dalou (1838-1902) was more inclined to adopt 
the pictorial methods of the 18th century. His latest and much 
criticized works were the Monument of the Republic (Place de la 
Nation) and the Monument to Alphand (Avenue du Bois-de-Bou- 
logne). The extreme of individuality in art is represented by the 
highly ^gifted Auguste Rodin (b. 1840), whose works, however, are 
often open to criticism ('The Kiss', 'Victor Hugo', 'Balzac', 'Mouth 
of Hell'). Desbois and others suggest themselves in the same con: 
nection. Perhaps the most striking plastic work of modern days is 
Bartholomews 'Monument aux Morts', in Pere-Lachaise. Boty, Cha- 
plain, Daniel Dupuis, and others have brilliantly resuscitated the 
art of the medallist. 

On Abchitecttjbe a few words must suffice. Under the First 
Empire the classical spirit was supreme (Madeleine, Exchange), 
under the Restoration it was relaxed only so far as to allow the 
addition of the basilica (Notre-Dame-de-Lorette, St. Yincent-de- 
Paul). Under Louis Philippe, however, a great revival of Gothic took 
place, headed by Viollet-le-Duc, Lassus, and others (restorations of 
Notre-Dame, the Sainte Chapelle, and Pierrefonds; Ste. Olotilde), 
and this was followed by a general eclecticism. Among the few 
really original works of the century honourable mention may be 
made of the Ecole des Beaux- Arts, by Duban; the church of St. 
Augustin, by Baltard; the Trocadero, built by Davioud and Bourdais 
in 1878; the church of the Sacre Ooeur, by Abadie; and the Opera 
House, by Charles Gamier, the interior of which is especially effective. 
Viollet-le-Duc's 'Entretiens sur 1' Architecture' first broached the 
important principle that the exterior of a building must indicate its 
uses and adapt itself to the altered methods of construction. The 
reading-room of the Bibliotheque Nationale, by Labrouste, is an 
admirable example of the adaptation of iron-construction to the needs 
of a large room. 

The Industrial Arts reached the lowest deep of degradation 
under Louis Philippe, but the Count de Laborde's classic report on 



liv FRENCH ART. 

the London Exhibition of 1851 induced a great improvement, which 
at first took the form of a reversion to earlier styles. It was not until 
later that a really modern industrial art sprang up, in conjunction 
with the United States, England, and Belgium, and under the in- 
fluence which the products of Japan began to exert in Paris about 
1867. The visitor to Paris will enjoy tracing this development in 
the works of the pewterei (Desbois, Baffler), the glass-maker (Qalle 
of Nancy), and the potter (Delaherche, Dalpeyrat, Bigot), as well as 
in furniture, tapestry, textile fabrics, and ornaments (Lalique). This 
field also is the scene of a varied and promising activity. 



PARIS. 



PRELIMINARY INFORMATION. 

1. Arrival in Paris. 

Railway Stations, see p. 31. — On arrival the traveller should 
hand his small "baggage to a porter (facteur), follow him to the 
exit, where an octroi official demands the nature of its contents 
(see p. xii), and call a cab (voiture de place). The cab then takes 
its place in the first row, which is reserved for engaged vehicles. 
After receiving the driver's number (numero), the traveller, if he 
has any registered luggage, tells him to wait for it ( l restez pour 
attendre les lag ages' 1 ). Hand-bags and rugs should not be left un- 
guarded in the cah, at any rate not without making the driver notice 
the numher of articles, as thefts are not infrequent. — If the tra- 
veller prefers to secure his registered luggage before calling a cab 
he will avoid the slight expense entailed hy waiting, hut if visiting 
Paris for the first time he will do well to engage one at once (by the 
hour; see below). Then, in the event of not finding accommodation 
at the hotel he has chosen, he can at once proceed to another, incur- 
ring little or no increase of fare hy so doing. 

The Salle des Bagages (Bouane) is opened 10-15 min. after the 
arrival of the train. The custom-house examination is generally 
lenient (comp. p. xii). After it is over the porter conveys the 
luggage to the cah, receiving 50 c. or more, according to the weight 
and numher of the packages. The octroi official has again to he 
assured that the contents include nothing eatable. As a rule, the 
through-passenger from England will not he ahle to leave the station 
until 20-25 min. after his arrival. If preferred, however, he may tell 
the porter to carry his hand-haggage direct to one of the hotels near 
the railway-stations (see p. 10) and return afterwards for his trunk. 

The fare (course) by Taximeter Cab (p. 27) depends on the 
distance driven, with an addition of 50 c. at night ; large articles of 
luggage, one piece 25 c, two pieces 50 c, three and more pieces 
75 c; pourboire 25 c. If the cab has to wait 10 c. are paid for each 
period of 3 minutes. For Ordinary Cabs (Fiacres), see p. 27. The 
tariff is printed on the 'numero', see also Appx., p. 46. 

At the railway-stations, in addition to the ordinary cahs, Luggage 
Cabs (Voitures speciales avec galerie pour bagages) and Railway 
Omnibuses (Omnibus de famille) are generally in waiting, hut it is 
safer to engage them heforehand. The order may run as follows : 

Baedekek. Paris. 16th. Edit. 1 



2 2. HOTELS. Preliminary 

(M. le Chef du) Service des Voitures Speciales or des Omnibus de 
famille, Gare du Nord [de VEst, etc.), Paris. Priere de faire prendre 

— personnes au train de (hour of arrival); signature. Telegrams of 
this nature are forwarded free by any station-master on the route. 
In ordering these vehicles to a private address for departure from 
Paris, 4, 6, or 12 hrs. notice (according to the railway-company) 
must he given. 

At the Gare du Nord and the Gare de VEst the Voitures Spiciales are 
stationed behind the omnibuses (see the placards); fares, per drive, in- 
cluding luggage, for 4 pers. 2 x /2 fr. by day (6 or 7 a.m. to 12.30 a.m.), by 
night 3 fr., or when ordered beforehand 3 and 4 fr. Omnibus de famille: 
fares (Gare du Nord), 6 pers. 6 fr., 12 pers. 10 fr., inch luggage; (Gare de 
TEst) for driving to domicile, 3 pers. 3 fr. by day (7 a.m. to midnight), 
each addit. pers. 1 fr. ; by night 4 fr. and 1 fr. For driving from domicile 
to station, 1-5 pers. 5 fr. ; 60 kg. (135 lbs.) of luggage are carried free for 
1-3 pers., ICO kg. (225 lbs.) for 4-10 pers ; excess 1 c. per kg. — At the Gare 
Saint-Lazare, Gare Montparnasse, and Gare des Invalides Ihese 'voitures spe- 
ciales 1 cost, for 2 pers., per drive 2 or 2V2, per hour 2'/2 fr. (at night 272-3 
or 3V2fr.); for 4 pers. 50 c. more in each case; luggage 50c. for 100kg. 
for 2 pers., 200 kg. for 4 persons. 'Omnibus de famille 1 for 1-6 pers. and 
300 kg. (675 lbs.) of luggage 6 fr. by day, 7 fr. by night (12.30 to 6 or 7 a.m.). 

— At the Gare du Quai-d'Orsay or Gare du Quai-d'Austerlitz the fares are: 
1-2 pers. 3, 3 pers. 3 3 /4, 4 pers. 4^2 fr., each, addit. pers. 1 / 2 fr. more; 
100 kg. of luggage free for 1-2 pers., 150 kg. for 3 or more. — At the Gare 
de Lyon the scale varies from 3 or 4 fr. for 2 pers. to 10 or 15 fr. for 
12 pers. according to the 'zone 1 ; 100 kg. of luggage free for 1-2, 200 kg. for 
4, 300 kg. for 6 persons. 

2. Hotels and Pensions. 

Alphabetical List at the end of the Book, after the Index. 

The large hotels of the first class, which are among the finest in 
the world, are, of course, provided with all modern luxuries and 
comforts, such as electric light, passenger lifts or elevators, steam 
or hot-water heating, and baths. The charges correspond to the ac- 
commodation. Our list includes many other hotels of more modest 
pretensions, and even of the second class, where good accommodation 
is found at a more moderate rate. It is, of course, impossible to 
enumerate them all. The traveller who arrives in Paris in the evening 
will probably find the best chance of accommodation at one of the 
large hotels in the centre of the town, such as the Hotel Continental, 
Grand-Hotel, Terminus, Hotel du Louvre, which have hundreds of 
rooms. These hotels have also the advantage that one pays for what 
one consumes at the time, without being bound down to regular meals. 

The prices given below have been furnished by the landlords or 
managers, and refer to one person for one day. Though they doubt- 
less vary somewhat from time to time, they will at least serve as 
a guide to the class of house one may expect. The double-bedded 
rooms are invariably the best, and the charge made for them is not 
always double that for a single room. If desired, breakfast is served 
in the visitor's own room at an extra charge of 50 c. or more. 
Luncheon (dejeuner; 12 to 2) and dinner (diner; between 6.30 or 7 
and 9) are served in the hotels of the first class at separate tables. 



Information. 2. HOTELS. 3 

In the winter-months (Dec. 1st to about the end of March) prices 
are lowered at many houses. 

The most fashionable hotels are to be found chiefly in the im- 
mediate neighbourhood of the Place Vendome, within the district 
bounded by the Place de l'Ope'ra, on the N., the Tuileries Gardens 
(Rue de Rivoli), on the S., and the Avenue de l'Ope'ra, on the E. 
The hotels in and near the Champs-Elysees are pleasant, but rather 
far from the centre of attractions, though that inconvenience is now 
mitigated by the Metropolitain (p. 30). Outside these fashionable 
quarters there are many other excellent hotels. 

To facilitate a choice we have arranged the hotels mentioned 
below in various groups. Though the largest and most aristocratic 
houses have been named first, it has been found impossible to follow 
any strict order of merit in the arrangement of the list. Thus many 
hotels in the later sections might with equal propriety appear in the 
earlier ones; while there are doubtless many deserving houses left 
entirely unmentioned. 

No hotel can be recommended as first-class that is not satisfactory 
in its sanitary arrangements, which should include an abundant flush of 
water and a supply of proper toilette paper. 

Hotels of the Highest Class. *H6tel Bristol and *H6tel du Rhin, 
Place Vendome 3 and 4-6 (Plan, Red, 18; special plan //+), two long 
established and aristocratic houses, patronized by royalty; suites 
of rooms (dining-room, drawing-room, 2-4 bedrooms, and bath) 
40-120 fr., dej. or D. 12 fr. or a la carte; pension for servants 9 fr. 
— *H6tel Ritz, Place Vendome 15, admirable cuisine and cellar, 
with 95 rooms and 65 bath-rooms, R. from I6V2 (with bath-room 
from 2672)5 B. 2V2 fr., de'j. & D. a la carte. — *H6t.Vendome, Place 
Vendome 1, similar in style to the Bristol and the Rhin, 70 R. from 
10, B. 2, dej. 5, D. 8, pens. 15 fr. — *Elys£e Palace Hotel (PL R, 12; 
I), Avenue des Champs-Elyse'es 103-113, 300 R. from 8, B. 2, dej. 
6, D. 7, pens, from 20 fr. — *H6t. de VAthenee, Rue Scribe 15 (PI. 
R, 18; II), near the Opera House, a favourite resort of English and 
Americans, 150 R. from 8, B. 2, dej. 5, D. 7 fr. — *H6t. Continental 
(PI. R, 18; II), Rue de Castiglione 3, corner of the Rue de Rivoli, 
opposite the Garden of the Tuileries, 500 R. from 5, B. 1V2-2, dej. 
5, D. 7 (incl. wine), pens, (in winter only) from 18 fr. — '-^Grand- 
Hotel (PL R, 18; II), Boulevard des Capucines 12, adjoining the 
Opera House, 800 R. from 7, B. l 1 /^? dej. 5, D. 8 (incl. wine), pens, 
from 18 fr. — *J3ot. Meurice, Rue de Rivoli 228-230 (PI. R, 18; II), 
re-opened in 1907, a resort of British and American travellers, with a 
roof-garden (lift; view), 200 R. from 8, B. 2, dej. 5, D. 7, pens, from 
18 fr. — *H6t. Regina (PI. R, 18; II), Place de Rivoli 2, 300 R. 



+ For explanation of references to Plan, see end of the book, before 
the index of streets. The italicised Roman numerals (//) refer to the 
special or district plans. The streets parallel with the Seine are numbered 
from E. to W., while the numbers of the cross-streets begin at the end 
next the river', the even numbers are on the right, the odd on the left. 

1* 



4 2. HOTELS. Preliminary 

from 6, B. 2, dej. 4, D. 6, pens, from 15 fr. — *H6t. Chatham, Rue 
Daunou 17-19, to the S. of the Place de l'Opera, an old favourite, 
170 R. from 7, B. l 1 ^, dej. 4, D. 6 fr. — *Mercedes Hotel, Place 
de l'Etoile, Rue de Preshourg 9, frequented hy Americans, 80 R. 
from 10, B. 2, dej. 6, L>. 8 fr. — *Langham Hotel, Rue Boccador 24 
(PI. R, 12; i), near the Av. de l'Alma, patronized hy Americans, 
100 R. from 15, B. 2, de'j. 5, D. 8 fr. — *H6t. Montana, Rue de 
l'Echelle 11 (PI. R, 21 ; 71), near the Av. de l'Opera, 75 R. from 8, 
B. 2, dej. 5, D. 7fr. 

Hotels of the First Class. In the Inner Town (see also p. 5 
et seq.) : *H6t. Terminus (PI. B, 18 ; II), Rue St. Lazare 110, opposite 
the Gare St. Lazare, somewhat out of the way for pleasure-visitors, 
500 R. from &l % B. li/ 2 , dej. 5, D. 6 (incl. wine), pens, from 16 fr. 

— *Gr.-H6t. du Louvre (PI. R, 20; II), Rue de Rivoli 172 and Place 
du Palais-Royal, 400 R. from 5, B. l*/ 2 , dej. 5, D. 6 (incl. wine), 
pens, from 14 fr. 

Near the Place Vendome (PI. R, 18; II)-. Hot. Mirabeau, Rue 
de la Paix 8, R. from 5, B. 2, dej. 5, D. 6, pens, from 18 fr., Hot. 
Westminster, Rue de la Paix 11-13, R. from 6, B. 2 fr., two high- 
class family hotels; Hot. de Hollande, Rue de la Paix 18-20, 100 R. 
from 15, B. 2, dej. 5, D. 7 fr., patronized hy English, American, and 
Russian visitors ; Hot. des Iles-Britanniques, Rue de la Paix 22, a 
family hotel, 40 R. from 7 fr., B. 13/ 4 fr. — To the S. of the Place 
Vendome: Hot. Castiglione, Rue de Castiglione 12, patronized by 
English and American visitors, with 20 suites, also 20 R. from 10, 
B. 2, dej. 5, D. 7 fr. ; *H6t. de Londres, Rue de Castiglione 5, 100 R. 
from 6, B. 2, dej, 6, D. 8, pens, from 15 fr. — Hot. Brighton, Rue 
de Rivoli 218, patronized hy the English and Americans, 65 R. from 
8, B. 1 1/2, dej. 5, D. 7 fr. — *HdZ. de Lille et d" 1 Albion, Rue St. Ho- 
nore 223, to the N. "of the Rue de Rivoli, patronized hy the English 
and Americans, 168 R. from 6, B. 13/ 4 , dej. 5, D. 6, pens, from 16 fr. 

— Hot. de France et Choiseul, Rue St. Honore 239-241. — *The 
Normandy Hotel, Rue de l'Echelle 7, patronized hy the English and 
Americans, 200 R. from 6, B. l 1 ^? dej. 5 (wine extra), D. 6 (incl. 
wine), pens, from 15 fr. — To the S.E. of the Place de l'Opera, ex- 
cellently situated (PL R, 18, 21; II): *H6t. Bellevue, Avenue de 
l'Opera 39, neaT the Rue des Petits- Champs, 100 R. from 5, B. l 1 ^ 
dej. 4, D. 6, pens, from 15 fr. ; Hot. Madison, Rue des Petits-Champs 
48, at the corner of the Av. de l'Opera, patronized hy Americans, 
85 R. from 6, B. 2, dej. 4, D. 5, pens, from 14 fr. ; Hot. des Deux- 
Mondes, Avenue de l'Opera 22, 150 R. from 6, B. li/ 2 , dej. 4, D. 5, 
pens, from 15 fr. — *H6t. Scribe, Rue Scribe 1 (PI. R, B, 18; II), 
near the Opera House, 140 R. from 7, B. iy 2 , dej. 4, L\ 6 fr. — 
Hot. Bedford, Rue de 1' Arcade 17 (PL R, B, 18; II), near the 
Madeleine, 80 Ii. from 5, B. li/ 2 , de'j. 4, D. 6, pens, from 15 fr. 

In or near the Champs-Elysees (see also p. 7; frequented by 
English and Americans) : ' i: H6t. d'Albe, Avenue des Champs-Elyse'es 



Information. 2. HOTELS. 5 

101 and Avenue de 1'Alma 55, 120 R. from 10, B. 2, dej. 5, D. 7, 
pens, from 20 fr. ; Carlton Hotel, Avenue des Chainps-Elysees 119- 
121, under construction (120 R.). — More to the S., in the direction 
of the Seine (PL R, 12; /): *E6t. de La Tremoille, Rue de La Tre- 
moille 14 and Rue Boccador 12, 180 R. from 4, B. 2, dej. 5, D. 7, 
pens, from 11 fr. -*- Near the Rond-Point (PI. R, 15; II): *H6t. 
Meyerbeer, Rue Montaigne 3, 80 R. from 7, dej. 4, D. 6, pens, from 
15 fr. ; Hot. Powers, Avenue dAntin 69, at the corner of the Rue La 
Boetie, 90 R., B. 2, dej. 4, D. 5, pens, from 10 fr. 

Near the Place de l'Etoile (PI. B, 12; I): Hot. Imperial, Rue 
Christophe-Colomb 4, 70 R. from 5, B. 1% de'j. 4, D. 5 fr. — *H6t. 
Beau-Site, Rue de Presbourg 4, a fashionable family hotel, 40 R. 
from 10, B. 2. dej. 7, D. 8-10, pens, from 25 fr.; meals served in 
private rooms only. — *H6t. Campbell, Avenue de Friedland 45-47j 
90 R. from 6, B. li/ 2 , dej. 5, D. 6, pens, from 14 fr. — *H6t. d'lena, 
Avenue d'lena 36-32, near the foot of the street, 200 R. from 4, 
B. iy 2 , dej. 5, D. 7, pens, from 12^2 fr. — Hot. Majestic, Avenue 
Kle'ber 17, under construction (360 R.). 

On the Left Bank of the Seine: *Palais d'Orsay, at the Gare 
du Quai-d'Orsay (PI. R, 17, II,- see p. 298), Quai d'Orsay 9, not 
far from the Louvre, 400 R. from 6V2, B. iy 2 , dej. 5, D. 6 (incl. 
wine), pens, from 15 fr. (restaurant, see p. 21). 

Other Hotels (First and Second Class). The hotels in this section 
are arranged topographically , and their situation and charges will 
give a rough idea of their relative excellence. Comp,, however, the 
remarks at pp. 2 and 3. 

1. Hotels in the W. Part of the Inner Town. 
Between the P]ace de la Concorde and the Madeleine on the W. and 
the Palais-Royal and Boul. Montmartre on the E. 

Hotels meuble's, seep. 11. 

To the S. of the Place Vendome, in the Rue de Castiglione 
(PI. R, 18; II): No. 6, *H6t. Melropole, 60 R. from 5, B. I1/2, dej. 4, 
D. 6, pens, from 15 fr. ; No. 7, Hot. Dominici, 100 R. from 5, B. 1 1/ 25 
dej.3y 2 , D. 5, pens. ffoml4fr.,Englishhouse;No. 11, Hot. Liverpool. 

In the Rue de Rtvoli (PL R, 18; II), adjoining the Louvre and 
the Garden of the Tuileries, a favourite English quarter : No. 208, 
Hot. Wagram, 70 R. from 6, B. 1 1/2, dej. 3 % !>• 5, pens, from 14 fr. ; 
No. 202, and Rue St. Honore' 211, *H6t . St. James et d' Albany, 200 R. 
from 4, B. li/ 2 , dej. 3, D. 4, pens, from 11 fr. — In the side-streets 
between the Rue de Rivoli and the Rue St. Honore (PI. R, 18; II): 
Hot. de Castille, Rue Cambon 37, 70 R. from 4, B. 1 1/ 2 , de'j. 4, D. 5, 
pens, from 12 fr. ; *H6t. de la Tamise, Rue dAlger 4, 40 R. from 31/2, 
B. IV2, de'j. 3, D. 4, pens, from 10 fr.; Hot. $ Oxford et de Cambridge, 
Rue dAlger 13, 50 R. from 3V 2 , B. IV2, de'j. 3y 2 , D. 4 (incl. wine), 
pens, from 9 fr.; Hot. Tivollier, Rue du Vingt-Neuf-Juillet 4, 50 R. 
from 3, B. V/ i} de'j. 2'/ 2 , D. 3, pens, from 8 fr. ; Hot. de Paris et 



6 2. HOTELS. Preliminary 

tf Osborne, Rue St. Roch 4, 53 R. from 3, B. 1% de'j. 3, D. 31/2 (incl. 
wine), pens, from 10 fr. — Prince Albert Hotel, Rue St. Hyacinthe 5 
(PL R, 18; II), 42 R. from 31/2, B. 1% dej. 3, D. 4 (incl. wine), 
pens, from 8 fr. — For other hotels near the Louvre, see p. 9. 

To the N."W. and N.E. of the Place Vendome (PL R, 18; IT), 
between the Avenue de l'Opera and the Boulevard des Capucines: 
Hot. de Calais, Rue des Capucines 5, 80 R. from 4, B. 2, de'j. 3, D. 4, 
pens, from 9 fr. — In the Rue Daunou, the first cross-street from the 
N. end of the Rue de la Paix : No. 4, Hot. de Bastadt; No. 5, Hot. 
de I'Amiraute, 50 R. from 4, B. li/ 2 , de'j. 4, D. 5, pens, from 12 fr. ; 
No. 7, Hot. de VEmpire (American clientele), 30 R. from 5, B. 2, 
de'j. 4, D. 5, pens, from 14 fr.; Nos. 6-8, Hot. d' Orient, 80 R. from 5, 
B. I1/2, de'j. 4, D. 5, pens, from 12 fr. — More to to the E. : Hot. 
Louis-le- Grand, Rue Louis -le- Grand 2, 40 R. from 372? B. IV2, 
dej. 3, D. 4, pens, from 9 fr., good. — In the Rue d'Antin: No. 16, 
Hot. des Etats-Unis, 60 R. from 3, B. iy 4 , de'j. 3, D. 4 (incl. wine), 
pens, from 9 fr. ; No. 18, Hot. d'Antin, 36 R. from 3, B. 1 1/ 2 , dej. 31/2, 
D. 4 (incl. wine), pens, from 10 fr. 

To the E. of the Avenue de l'Ope'ra, near the Boulevard des 
Italiens (PL R, 21 ; II) : Hot. de la Neva, Rue Monsigny 9, 50 R. from 
3 fr., B. 60 c, dej. 3, D. 4 (incl. wine), pens, from 10 fr. ; Hot. de Man- 
chester, Rue de Grammont 1, 35 R. from4V 2 , B. li/ 2 , de'j. 31/2, D. 4 
(inch wine), pens, from 10 fr. ; Hot. du Perigord, Rue de Grammont 2, 
50 R. from 4, B.IV2, de'j. 3, D. 4 (incl. wine), pens, from 10 fr.; *H6t. 
Favart, Rue de Marivaux 5, opposite the Opera Comique, 45 R. from 
4, B. 3 / 4 -lV4, de'j. 4, D. 4fr. (incl. wine). 

Near the Place de l'Ope'ra (PL R, B, 18, 21; II): *Grand- 
Hotel des Capucines, Boul. des Capucines 37, 70 R. from 5, B. iy 2 , 
dej. 4, D. 6, pens, from 12 fr. — Tn the Boulevard des Italiens: 
No. 32, and Rue du Helder 6, *H6t. de Bade, an old-established 
house, 200 R. from 5, B. iy 2 , de'j. 31/2, D. 5, hoard 9 fr. ; No. 22 
(entrance Rue Taitbout 4), Adelphi Hotel, 60 R. from 4, B. II/4, 
dej. 21/2 or 372) D. 372 or 5 (incl. wine), board 6 fr. ; No. 2 (entr. 
Rue Drouot 1), *H6t. de Bussie, 106 R. from 6, B. iy 2 , de'j. 3y 2 , 
D. 472? pens, from 15 fr. — On the N. side of the Boul. des Italiens. 
In the Rue du Helder: No. 8, Hot. du Tibre, 55 R. from 6, B. 11/2, 
dej. 4, D. 5, pens, from 13 fr. ; No. 9, Hot. du Helder, 80 R. from 5, 
B. iy 2 , de'j. 4, D. 5, pens, from 12y 2 fr., good; No. 11, H6t. Bich- 
mond, a family hotel, 60 R. from 5, B. iy 2 , de'j. 3, D. 4, pens, from 
12 fr.; No. 16, *H6t. de VOpera, 50 R. from 4y 2 , B. i% de'j. 31/2, 
D. 472 (incl. wine), pens, from 12 fr. — In the Rue Laffitte: Nos. 
20-22, Hot. Byron, 50 R, from 3 V2, B. 1 7 4 , de'j. 37 2 , D. 4 (incl. wine), 
pens, from ?y 2 fr.; No. 32, Hot. des Pays-Bas, 32 R. from 4, B. iy 4 , 
de'j. 3, D. 372 (incl. wine), pens, from 12 fr. 

To the N.E. of the Place de l'Ope'ra (PL B, 21 ; II): Hot. Suisse, 
Rue de La Fayette 5, 60 R. from 5, B. iy 2 , de'j. 3y 2 , D. 41/2 O cl - 



Information. 2. HOTELS. « 

wine), pens, from 10 fr.; Hot. Victoria, Cite* d'Antin 10, 40 R. from 5, 
B. li/4, dej. 31/2, D. 4: (incl. wine), pens, from 9 fr.; Hot. St. Georges, 
Rue St. Georges 18, 50 R. from 4, B. 1 1/4, dej. 3 l / 2 , D. 4 (incl. wine), 
pens. 12 fr. — Farther on : Hot. Franklin $ du Bresil, Rue de Buf- 
fault 19, near the Rue de Chateaudun and Rue de La Fayette, 40 R. 
from 4, B. 1, de'j. 3, D. 3 (incl. wine), pens, from 8 fr. 

Near the Madeleine (PI. R, B, 18 ; II), to theN. of the honlevards. 
Rue Caumartin: No. 14, *H6t. de la Grande Bretagne (English clien- 
tele), 65 R. from 5, B.iy 2 , dej. 3, D. 4, pens, from 11 or 12 fr.; Nos. 
33-35, Hot. St. Peter so our g, mainly English and American customers, 
150 R. from 5, B. IV2, de'j. 3, D. 4, pens, from 13 fr. — Hot. Sydney, 
Rue des Mathurins 50, near the Opera House, 36 R. from 4, B. iy 4 , 
dej. 3, D. 31/2, pens, from 8 fr. — Hot. Vignon, Rue Vignon 23, 40 R. 
from 3y 2 , B. iy 2 , de'j. 3, D. 4 (incl. wine), pens, from 8 fr. — Hot. 
Lartisien, Passage de la Madeleine 4, 45 R. from 2*/ 2 , B. 1 or l 1 /^, 
de'j. 3, D. 3*/ 2 (incl. wine), pens, from 8 fr. 

To the S.E. of the Madeleine (PL R, 18; II): Hot. Burgundy, 
Rue Duphot 8, 80 R. from 3, B. 1% dej. 3y 2l D. 41/2, pens, from 

9 fr. ; Hot. de la Concorde, Rue Richepanse 6, 66 R. from 4y 2 , 
B. I1/4, de'j. 31/2, D. 4 (incl. wine), pens, from 10 fr. 

To the S."W. of the Madeleine (PL R, 18 ; IT). In the Cite' du Retiro 
(entr. Rue Boissy-d'Anglas 35 and Rue du Faubourg-St-Honore 30), 
quietly situated: No. 5, Hot. Perey, 40 R. from 4, B. H/ 2 , dej. 3, D. 4, 
pens, from 8fr., good ; No. 9, Hot-Pens. The, 40 R. from 3y 2? B. 1 % 
dej. 3, D. 4, pens, from 7 fr. ; No. 3, Hot. de la Cite du Retiro (Eng- 
lish clientele), family house, 28 R. at 4, B. iy 4 , de'j. 3, D. 3y 2 (incl. 
wine), pens. 7*/ 2 fr- — Near the Place de la Concorde and the Champs- 
Elysees: Hot. Vouillemont, Rue Boissy-d'Anglas 15, 125 R. from 5, 
B. 11/2, dej. 4, D. 6 (incl. wine), pens, from 14 fr. 

To the N.E. of the Madeleine (PI. R, B, 18; II) : Hot. Malesherbes, 
Boul. Malesherbes 26, 64 R. from 5, B. l'/ 2 , de'j. 4, D. 5, pens, from 
12V2 fr-5 Sot. de V Arcade, Rue de LArcade 7, 80 It. from 5, B. iy 2 , 
dej. 3, D. 4, pens, from 10 fr., English visitors; Hot. Marigny, Rue 
de 1' Arcade 11, 30 R. from 3y 2 , B. iy 4 , dej. 3, D. 3y 2 , pens, from 

10 fr. ; Hot. Buckingham, Rue Pasquier 32, 45 R. from 3y 2 , B. iy 2l 
dej. 3, D. 3y 2 (incl. wine), pens, from 8 fr. 

2. Hotels in the Champs-Elysees and their Environs. 

To the N. of the Rond-Point des Champs-Elyse'es (PI. R, B, 1 5 ; II) : 

Hot. Montaigne, Rue Montaigne 28 & 30, Dutch clientele, 50 R. from 

41/2, B. iy 2 , de'j. 3, D. 4, pens, from 12 fr.; Hot. Bradford, Rue St. 

Philippe-du-Roule 10, 50 R. from 5, B. iy 2 , de'j. 4, D. 5, pens, from 

11 fr. — To the S. of the Rond-Point (PL R, 12, 15; I, II): *H6t. du 
Palais, Cours-la-Reine 28, 100 R. from 4, B. iy 2 , de'j. 4, D. 5, pens, 
from 10 or 12 fr. 

To the W. of the Rond-Point, in the side-streets of the Avenue 



8 2. HOTELS. Preliminary 

de l'Alma (PI. R, 12; J): Hot. Grosvenor, Rue Pierre-Charron 59, 
frequented by Americans, 48 R. from 5, B. iy 2 , d§j- 3y 2 , D. 4y 2 , 
pens, from 12 fr. ; Hot. West End, Rue Cle'ment-Marot 7, Anglo- 
American clientele, 50 R. from 5, B. iy 2 , de'j. 3, D.4, pens, from 10 fr. 

Near the Place de l'Etoile (PI. B, R, 12 ; J) : *Royal Hotel, Avenue 
de Friedland 33, 80 R. from 5, B. 1% de'j. 4, D. 5, pens, from 14 fr. ; 
The American Hotel, Av. de Friedland 19, 50 R. from 6, B. lt/ 2 , 
de'j. 31/2, D. 4, pens, from 9fr. ; Splendid Hotel, Avenue Carnot Ibis & 3 ? 
59 R. from 5, B. iy 2 , de'j. 4, D. 5, pens, from 11 fr. ; Hot. Columbia, 
Avenue Kle'ber 16, 64 R. from 5, B. l*/ 2 , dCj. 4, D. 5, pens, from 
I2Y2 fr- 5 Hot- Beaujon, Rue de Balzac 8, Anglo-American clientele, 
50 R. from 41/2, B. 1% de'j. 2% D. 31/2, pens, from 8 fr. — Farther 
to the E. : Hot. Haussmann, Boul. Haussmann 192, 34 R. from 2, 
B. 1, dej. 2^/2, D- 3 (incl. wine), pens, from 6 fr. 

Near the Place desEtats-Unis (PI. R,9, 12; I): Hot. International, 
Avenue d'le'na 60, 80 R. from 5, B. iy 2 , de'j. 4, D. 5, pens, from 
10 fr., American -visitors ; Hot. Belmont et deBassano, Rue Bassano 30, 
American family hotel, 45 R. from 6, B. iy 2 , dej. 3, D. 4, pens, 
from 10 fr.; Hot. Ferras, Rue Hamelin 32, 50 R. from 4, B. iy 2 , 
de'j. 4, D. 5, pens, from 10 fr. 

3. Hotels in the E. Part of the Inner Town. 

To the E. of the Boul. Montmaiire, the Rue de Richelieu, and the Rue 
Drouot. 

Hotels meuhle's, see p. 11. 

In the Boul. Montmartre (PI. R, 21 ; ///) : No. 10, Hot. Ronceray 
[Terrasse Jouffroy, see p. 18), 100 R. from 4, B. 1 or 11/2, de'j. 3, D. 5 
(incl. wine), pens, from 11 fr. 

To the N. of the Boul. Poissonniere (PI. R, B, 21; III): *H6t. 
Paris-Nice Reunis, Rue du Fauhourg-Montmartre 38, 120 R. from 3, 
B. II/2, de'j. 3, D. 4 (incl. wine), pens, from 10 fr.; Hot. de la Cite 
Bergere, Cite' Bergere 4, 50 R. from 3, B. iy 4 , de'j. 2%, D. 3y 2 (incl. 
wine), pens, from 9 fr. ; *Gr.-H6t. Bergere $ Maison Blanche, Rue 
Bergere 32-34, 110 R. from 6, B. 1% dej. 3, D. 4 (incl. wine), pens, 
from 12 fr. ; Hot. de Belgique $ de Hollande, Rue de Trevise l 7, 60 R. 
from 3, B. iy 4 , de'j. 2%, D. 31/2 (incl. wine), pens, from 9 fr. ; 
Hot. deBaviere, Rue Richer 11 and Rue du Conservatoire 17, German 
visitors, 75 R. from 5, B. iy 2 , dej. 4, D. 5 (incl. wine), pens, from 
12y 2 ^. ; Cecil Hotel, Rue du Conservatoire 7, 35 R. from 4, B. iy 4 , 
de'j. 2y 2 , D. 3 (incl. wine), pens. 9-14 fr. 

In the Boulevard Bonne Nouvelle (PI. R, 24; III): No. 34, Hot. 
Marguery (restaurant, see p. 19). 

To the N. of the Boulevard Bonne-Nouvelle (PL R, B, 24; III): 
Hot. du Pavilion, Rue de l'Echiquier 36, 120 R. from 4, B. iy 2 , 
de'j. 3, D. 4 (incl. wine), pens, from 12 fr., good; Hot.Violet, Passage 
Violet 11-12, Rue du Fanbourg-Poissonniere 36-38, frequented by 
Germans, 60 R. from 4, B. iy 2 , dtfj. 3, D. 4 (incl. wine), pens, from 



Information. 2. HOTELS. 9 

12 fr., well spoken of; Hot. d'Autriche, Rue d'Hauteville 37, patron- 
ized by Germans, 60 R. from 4, B. iy 4 , de'j. 3% !>• ^1% pens, 
from 10 fr. 

To the S. of the Boulevard Montmartre and near the Bourse 
(PI. R, 21; ///): Hot. de Rouen, RueNotre-Dame-des-Victoires 13, 
42 R. from 37 2 , B. iy 4 , dej. 3, D. 4 (incl. wine), pens, from 8 fr., 
good; Hot. des Colonies, Rue Paul-Lelong27, 50 R. from 3'/2, B. l 1 /^ 
de'j. 2V2) D. 2V2 (incl. wine), pens, from 972 f r « 

Near the Bibliothcque Nationale (PI. R, 21; //, III)'. *H6t. 
Louvois, Square Louvois, 80 R. from 4'/^ B. l l / 2 i de'j. 372; D. 4^1 
(incl. wine), pens, from 12 fr. ; *H6t. de Malte, Rue de Richelieu 63, 
frequented by the Dutch and Scandinavians, 75 R. from 4, B. l'/ 2 j 
de'j. 3, D. 4, pens, from 11 1/2 fr. 

Near the Louvre (PL R, 20, 21 ; II, III) : *Gr.-H6t. du Palais- 
Royal, Rue de Valois 4, to the E. of the Palais-Royal, with a 
garden on the roof (lift), 80 R., B. iy 2 , de'j. 3, D. 4 (incl. wine), 
pens, from 12 fr. ; Central Hotel, Rue du Louvre 40, near the Bourse 
de Commerce, 300 R. from 5, B. ll/ 2 , dej. 31/2, D. 4 fr. (incl. wine); 
Gr.-Hot. du Rhone, Rue Jean- Jacques-Rousseau 5, 110R. from 3^4, 
B. 1, de'j. 2^2) D. 3 (incl. wine), pens, from 8 fr. In the Rue Croix- 
des-Petits-Champs: No. 4, Hot. du Globe, 55 R. from 3y 2 , B. li/ 4 , 
dej. 3, D. 372 (incl. wine), pens, from 8 fr., good; No. 10, Hot. 
de VUnivers et du Portugal, English visitors, 72 R. from 3, B. IV4, 
de'j. 3, D. 3 l /g (incl. wine), pens, from 8 fr.; No. 27, Hot. du Levant, 
97 R. from 37 2 , B. 17 4 , dej. 2y 2 , D. 3, pens, from 7 fr. *Hot. 
Sainte-Marie, Rue de Rivoli 83, 60 R. from 3, B. 17 4 , de'j. 3, D. 4 
(incl. wine), pens, from 10 fr. — Farther to the E. (PI. R, 20, 23; 
III, V): Hot. Britannique, Avenue Victoria 20, patronized by the 
English, 30 R., B. 17 4 , de'j. iy 2 -2, D. 3, pens, from 67 2 fr. 

In the Place de laRe'publique (PI. R, 27 ; III) : *Gr.-H6t. Moderne, 
400 R. from 4, B. iy 4 , de'j. 3y 2 , D. 47 2 fr. 

4. Hotels on the Left Bank of the Seine. 

These hotels are less frequented by the pleasure- visitor to Paris. The 
N. part of the Q,uartier St. Germain is, however, fairly convenient for the 
Louvre, while the Quartier Latin is chiefly frequented by students. 

In the Quartier St. Germain (PI. R, 17, 16, 20; IV): *Palais 
d'Orsay, see p. 5; Hotel du Quai- Voltaire, Quai Voltaire 19, near 
the Pont des Saints-Peres, 40 R. from 3, B. 17 2 , dej. 3, D. 37 2 , 
board 6 fr.; Hot. des Ambassadeurs, Rue de Lille 45, 32 R. from 4, 
B. 1, dej. 3, D. 372 (incl. wine), pens, from 10 fr.; Hot. Solferino, 
Rue de Lille 91* 36 R. from 37 2 , B. ll/ 4 , de'j. 3, D. 37 2 (incl. wine), 
pens, from 9 fr., good; Hot. Jeanne d'Arc, Rue Vaneau 59, 100 R. 
from 372? B. 1, de'j. 3, D. 372 (incl. wine), pens, from 7 fr. ; Hot. 
des Saints-Peres, Rue des Saints-Peres 65, 50 R. from 472, B. 1 727 
dej. 372) L\ 4 (incl. wine), pens, from 11 fr. , good, Hot. du Bon- 
Lafontaine, Rue des Saints-Peres 66, 50 R. from 272, B. 17 4 or 



10 2. HOTELS Preliminary 

l 1 ^? dej. 3, D. 372 (incl. wine), "board 6 fr., these two frequented 
by the French clergy; Hot. d' Orleans- St-Oermain, Rue Jacob 50, 
100 R. from 2% B. 1, de'j. 2V 2 , D. 3 (incl. wine), pens, from 7 fr. ; 
Hot. du Danube, Rue Jacoh 58, 62 R. from 3, B. 1, de'j. 2% D- 3 
(incl. wine), pens, from 8 fr., good; Hot. de Seine, Rue de Seine 52, 
38 R. from 3, B. li/ 4 , de'j. 2*/ 4 , D. 23/ 4 f r . (incl. wine). 

In the Quartier Latin (PL R, 19; V): Hot. de Suez, Boul. 
St. Michel 31, 64 R. from 2V 2 fr., B. 60 c, dej. iy 2 , D. 2 fr. (incl. 
wine); Hot. Dacia, Boul. St. Michel 41, 33 R. from 2, B. 1, de'j. 2, 
D. 2 l /2 (incl. wine), pens, from 7*/2 fr- 

Near the Luxembourg (Ode'on; PI. R, 19, IF, F): flof. Malheroe, 
Rue deVaugirard 11, 58 R. from 3 fr., B. 60-75 c, dej. or D. 2 
(incl. wine), pens, from 7 1 /2 I " r -j Sot. Corneille, Rue Corneille 5, 
adjoining the Ode'on, 85 R. from 3 fr., B. 1, dej. 2, D. 2*/ 2 (incl. 
wine), pens, from 7 fr.; Hot. Regnard, Rue Regnard 4, 47 R. at 3- 
31/2, B. 3/ 4} dej. 2, D. 21/2, pens. 5-7 fr. ; Hot. St. Sulpice, Rue 
Casimir-Delavigne 7, 45 R., B. 3 / 4 , dej. 2, D. 2'/2 (incl. wine), pens, 
from 7fr. ; Hot. du Senat, Rue de Tournon 7, 60*R. from 2y 2 , B. 1, 
de'j. 2y 4 , D. 2 3 / 4 (incl. wine), pens, from 7 fr., good. 

5. Hotels near the Railway Stations. 

Gare du Nord (PI. B, 24). Buffet, with R. from 10 fr. — Oppo- 
site the exit: Hot. Terminus- du- Nord, Boul. de Denain 12, 150 R. 
from 4, B. iy 2 fr., restaurant a la carte ; Hot. Denain (meuble), Boul. 
de Denain 6, 60 R. from 4, B. l*/2 fr., no restaurant. — In the Rue 
St. Quentin: No. 31, Hot. dela Gare-du-Nord (meuble'), 23 R. from 3, 
B. 1 fr., no restaurant; No. 37, Hot. Cailleux, 45 R. from 3, B. 1, 
dej. 31/2, D. 4 fr. (incl. wine); No. 40, New Hotel, 40 R. from 3, 
B. 1, dej. 31/2, D. 4 fr. (incl. wine). 

Garb db l'Est (PI. B. 24, 27 ; III). Rue de Strasbourg: No. 5, 
Hot. de la Ville-de- New- York, 30 R. at 3, B. 1, de'j. 3, D. 3 (incl. 
wine), pens. 10 fr. — Boulevard de Strasbourg: No. 72, Hot. de Paris, 
50 R. from 3, B. i^-l 1 ^, de'j. 2i/ 2 , D. 3 fr. (incl. wine); No. 74, Hot. 
de V Europe, 40 R. from 4, B. iy 4 , de'j. or D. 21/2, pens, from 10 fr.; 
No. 87, Hot. de Champagne # de Mulhouse (meuble), 37 R. from 2 1 / 2 > 
B. 1 fr. — Hot. du Centre (meuble), Rue Sibour 4, opposite the 
church of St. Laurent, 52 R, from 3, B. 1 fr. — Hot. de France (Ger- 
man clientele), Cite Jarry 3 (entr. Boul. de Strasbourg 67), 36 R. 
from 21/2, B. 1, de'j. 3, D. &/ 2 (incl. wine), pens, from 10 fr. — 
Hot. Caffarel (meuble), Rue Albouy 46, 40 R. from 3, B. 3/ 4 -l fr. 
Gabb St. Lazare (Chemin de Per de I'Ouest, Rive Droite; PL B, 
15, 18,21, III). Opposite the station: Hot. Terminus (seep. 4); 
Hot. de Londres et de New York, Place du Havre 13-15, 100 R. from 
4, B. I 1 /?, dej. 3, D. 4, pens, from 10 fr. ; Hot. Anglo-Americain, Rue 
St. Lazare 113-117, 102 R. from 3, B. 1% dej. 3, D. 4, board 8 fr.; 
Hot. de Normandie, Rue d'Amsterdam 4, frequented by the English, 



Information. 2. HOTELS. 11 

70 R. from 4, B. li/ 4 , de'j. 3, D. 4 (incl. wine), pens, from 12 fr. — 
Farther on: Hot. de Borne, Rue de Rome 15; Cosmopolite Hotel, Rue 
de 1' Arcade 62, 30 R. from 4, B. li/ 2 , de'j. 4, D. 5, pens, from 12 fr.; 
Hot. Oceanique, Rue de la Pepiniere 17, 36 R. from 5, B. l 1 ^ or l 1 /^ 
dej. or D. 3y 2 (incl. wine), pens, from 1272 fr. — Hot. Alexandra, 
Rue de la Bienfaisance 16, near St. Augustin, 55 R. from 4, B. IV4, 
de'j . 3, D. 4 (incl. wine), pens, from 9 fr. — Hot. Joubert, Rue Joubert 3, 
near the Opera House, 40 R. from 3, B. 1 1/4, de'j. 2%, D. 372 (incl. 
wine), pens, from 9 fr. — Hot. Touraine (meuble), Rue Taitbout 73, 
at the corner of the Rue de' Chateaudun, 27 R. from 3, B. I74 fr. 

Garb Montparnasse (Chemin de fer de VOuest, Rive Gauche; PI. 
G, 16). Hot. de la Marine et des Colonies, Boul. du Montparnasse 59, 
80 R. from 4, B. 17 4 , de'j. 272, D. 3 (incl. wine), pens, from 10 fr. 

Gare de Lyon (PL G, R, 28). Terminus du Chtmin de Fer de 
Lyon, Boul. Diderot 19, 45 R. from 4, B. 17 2 , dej. 4, D. 5 fr. (incl. 
wine). — Palym-Hotel (meuble), Rue Emile-Gilbert 4, opposite the 
station, 50 R. from 4, B. V/4 fr. 

Gares d'Orleans. The Hotel at the Gare du Quai-cTOrsay (PL R, 
17; II) is mentioned at p. 5, and is not far from those on the left 
bank given at the beginning of section 4 (see p. 9). 



Hotels Meubles. In the "W. part of the Inner Town (PL R, B, 
18, 21; II): Hot. Paris-Centre, Rue Sainte-Anne ll bis , near the 
Av. del'Opera, 35 R. from 3, B. 1 ^2 f r. ; Maison Meublee (Andrieux), 
Boul. des Capucines 25, opposite the Grand-Hotel, 40 R. from 272> 
B. I7.2 fr., with restaurant; Hot. LaffitU, Rue Laffitte 38, 35 R. 
from 3, B. 17 4 fr.; *Hot. Rossini, Rue Rossini 16, 50 R. from 3, B. 
1 fr.; Hot. de France, Rue d'Antin 22, 40 R. from 3, B. li/ 4 fr.; 
Hot. de Berne, Rue de Chateaudun 30, 35 R. from 3, B. 17 4 fr. ; 
Hot. de Stze, Rue de Seze 16, near the Madeleine, 25 R. from 3, B. 
I72 fr-; with restaurant. 

In the E. part of the Inner Town (PL R, 21, 24; III): Gr.-Hot. 
Bore, Boul. Montmartre 3 , 80 R. from 3>/ 2 , B. 3 / 4 -17 2 fr., with 
restaurant; Hot. Beau-Sejour, Boul. Poissonniere 30, 100 R. from 3, 
B. 172 fr«) witn restaurant; Hot. Rougemont, Boul. Poissonniere 16, 
60 R. from 5 fr., with restaurant; Hot. de Cologne $ de Trevise Reunis, 
Rue de Tre'vise 10-12, 70 R. from 27 2 , B. 1 fr., well spoken of; Hot. 
Vivienne, Rue Vivienne 40, near the Bourse, 40 R. from 3721 B. 3 / 4 
or 1 fr., with restaurant; Hot. des Palmiers, Rue Greneta 39, near 
the Boul. de Sevastopol, 30 R. from 2, B. 3 / 4 fr. 

On the left bank of the Seine (PL R, 19, 20; IV, V): Hot. de 
Londres, Rue Bonaparte 3, 30 R. from 2, B. 1 fr., with restaurant; 
Hot. d'lsty, Rue Jacob 29, 45 R. from 2, B. 1 fr., with restaurant; 
Hot. d'Harccurt, Boul. St. Michel 3, 62 R. from 3, B. 17 4 fr.; Hot. 
Cluny-Square, Boul. St. Michel 21, 32 R. from 3'/2i B. 1 fr. ; Maison 
Meublee M. Vetter, Rue du Sommerard 9, 40 R. from 274, B. 72 fr - 5 
Hot. du Midi, Rue du Sommerard 22, R. from 2 fr. ; Hot. de Constan- 



12 2. PENSIONS. Preliminary 

tine, Rue Cujas 18, near the Boul. St. Michel, 60 R. from 30 fr. per 
month, B. 60 c. ; Hot. du Luxembourg, Rue de Vaugirard 54, oppos- 
ite the Luxembourg garden, R. from 3J/2) B. 3 /4ir. 
Hotels Meublees near the stations, see pp. 10, 11. 



Family Hotels and Pensions. These are becoming more and 
more popular, even for a short stay. — Near the Place de l'Etoile, to 
the N. of the Av. des Champs - Elyse'es (PL B, 12): Pens. Taylor, 
Av. de Friedland 28 (36 R. ; pens, from 8^2 fr-) > Hot. Lord-Byron, 
Rue Lord-Byron 16 (45 R. ; 10V2.-12 l /o fr. ; American clientele); 
Hot. des Champs-Elysees, Rue de Balzac 3 (35 R. ; 8-12 fr. 5 English 
and American visitors); Pens. Townshend, Rue duFaubourg-St-Ho- 
nore' 157 (English; 7 R. ; 50-70 fr. per week). — To the S. of the 
Av. des Champs-Elyse'es (PL R, 12, 9 ; 1) : Pens. Francis, Rue Robert- 
Estienne 3 (22 R. ; Q l />2~10 fr.; Anglo-American clientele); Mme. 
Condat, Rue Cle'ment-Marot 18 (30 R. ; 7-10 fr.) ; Bellot- Carol, 
Rue Boccador 4 (20 R. ; 9-12 fr.) ; Mme. Victor Genie, Rue Marbeuf 6 
(5 R. ; 9-10 fr.; American visitors); Mile. Geoffroy, Rue Galile'e 41- 
43 (20 R.; 8-14 fr.); Belloc, Rue de Belloy 6, near the Av. Kleber 
(25 R. ; 10-25 fr.); Mme. Carre, Rue Oimarosa 3, at the corner of 
Av. Kleber (14 R. ; 15-20 fr.) ; Mme. Villard, Av. Kleber 88bis (10 R. ; 
55-80 fr. per week; frequented by Americans); Pens. Hawkes, Av. 
du Trocade'ro 7 (22 R. ; 7-12 fr.; Anglo-American clientele). — At 
Passy (PL R, 8, 5; 7): Mmes. Lehman, Rue Scheffer 10 (10 R. ; 50- 
55 fr. per week); Mile. Cordon, Rue Vital 14 (10 R. ; 7-12 fr. ; Eng- 
lish and American visitors). — To the S.W. and W. of the Place de 
l'Etoile (PL R, B, 9; I): Mme. Blackader, Rue du Dome 4 (10 R, ; 
7 fr. ; English clientele) ; Mme. Molinie, Av. Yictor-Hugo 114 (12 R. ; 
from 7 fr.); Pens. Lamartine (Ohaynes), Av. Yictor-Hugo 175 (16 R. ; 
7-10 fr.); Mme. de Naudin, Rue Gustave-Courbet22 (10 R.; 5-7 fr.); 
Pens. Lafayette (G. Guebin), Rue de la Pompe 38 (10 R. ; 7-12 fr. ; 
English visitors); Mme. de la Pontine, Av. de la Grande- Armee 11 
(12 R.; 7-12 fr.'); Villa Stella (Mme. OhaiUey). Rue Chalgrin 16 
(28 R. ; 8-14 fr.; English and American visitors); Mile. Tison, Rue 
Lalo 8, near the Av. du Bois-de-Boulogne (6 R. ; 8-10 fr.); Mme. 
Ducreyi:, Rue Lesueur 10 (7-10 fr.). — TotheN.W.andN. of the Place 
de l'Etoile (Pl.B, 9, 8, 12, 11): Gargare, Boul. Pereire 212, near the 
Av. des Teraes (8R.; from8fr.); Gaigneau, Boul. Pereire 175 (14 R.; 
6-7 fr.); Villa St. Georges (L. Sinet). RueDemours 6 (27 R. ; 6-12fr.). 

Quarters to the N. of the city. Near the Place de Wagram (PL 
B, 11) : Brenzinger, Boul. Pereire 69 (8 R. ; 5-7 fr.). — Near the Place 
de Clichy (PL B, 17, 18): Richard's Family Hotel, Rue Darcet 22 
(12 R.; from 8 fr. per day, or from 200 fr. per month; American 
visitors); Pens. Clairmont (Edouard Poy), Rue de Calais 16 (14 R. ; 
9 1 /4-15 1 /2 fr. ; Anglo-American clientele); Mile. Besbleds, Rue de 
Turin 26 (6 fr.) ; Mme. Alexander, Rue Ballu 5 (3 R. ; 7 fr. ; Eng- 
lish visitors); Glatz, Rue de Clichy 45 (50 R. ; 9-12 fr.). 



Information. 2. PENSIONS. 13 

In the centre of the city (PL B, R, 18, 21; //, ///): The Home 
(Mile. Hadamla), Rue Richepanse 15, near the Madeleine (20 R. ; 
8-15 fr.); Mme. Doucerain, Rue Caumartin 12 (10 R.; 7-10 fr. ; 
patronized by the English and Americans); Le Gal, CiteBergere 12, 
near the Boul. Poissonniere (30 R. ; from 6 fr.) ; The Marlboro' (Mme. 
Wallis), Rue Taitbout 24 (45 R.; 8-10 fr.); Boizard, Rue Montho- 
lon 11 (30 R. ; 6-8 fr.); Mrs. Foxon, Rue de Londres 7. 

In the He de la Cite (PL R, 20; V): Mme. Barbier, Rue de 
Harlay 20, near the Palais de Justice (6 R. ; 7-8 fr. ; Anglo-American 
clientele). 

On the left hank of the Seine. Near the Hotel des Invalides 
(PL R, 14; IV): Hot. Dysart, Square Latour-Maubourg 4 (60 R. ; 
from 12^2 fr« j American visitors). — To the N. of the Luxembourg 
(PL R, 19, 20; V): Mme. Paulier, Rue de Seine 72 (5 R. ; from 7 fr.); 
Mine. Rabaliaty, Rue St. Sulpice 30 (6 R. ; 6 fr.); Hot.-Pens. de 
I'Odeon, Rue de l'Ocleon 3 (30 R. ; 5-6 fr. ; patronized by Americans). 
— To the W. of the Luxembourg (PL R, G, 16, 13; IV): Maison 
Parisienne (Mme. Bajou), Rue de Vaugirard 23 (6 R. ; 5-8 fr.) ; Mmes. 
Delarue, Rue d'Assas 7 (10 R. ; 35-50 fr. weekly ; English and Amer- 
ican visitors) ; Clement, BouL Raspail 140 (8 R. ; 6-8 fr.) ; Mme. 
Peeler, Boul. Raspail 282 (4 R. ; 6-7 fr.) ; Mme. Kremer, Rue cle 
Rennes 108bis (5 R. ; 8 fr.); Villa des Dames, Rue Notre-Dame-des- 
Champs79 (40R.;8-12fr.) ; Pernotte, Rue Notre-Dame-des-Champs 
1 17 (12 R. ; 5-8 fr. 60 c); Mme. Reinburg, Passage Stanislas 4 (10 R. ; 
from 8 fr.) ; Mile. Bournique, Rue Vaneau 85 (17 R. ; from 6 fr.) ; Mme. 
Poisart, Rue St. Romain 16. — To the E. of the Luxembourg (PL 
R, G, 19): Laille, Rue du Sommerard 17 (45 R.; 7-10 fr.); Mme. 
Chopard, Rue de Cluny litis (12 R, ; 5-8 fr.); Mile. L. GuUlier, Rue 
Valette 21, near the Pantheon (30 R. ; 5V2"8V2 &■ 5 American clien- 
tele); Mme. Blondeau, Rue Gay Lussac 8(14 R. ; from 50 fr. weekly) ; 
Debacq, Rue des Feuillantines 5 (15 R. ; 5-6 fr.). 

Residence Universitaire or University Hall, Boul. St. Michel 95 
(10 R. ; 180-250 fr. monthly), see p. 55. — Lady students are re- 
ceived by Mrs. Edward Ferris (Amer.), 97 Boulevard Arago (p. 55), 
and at the Franco -English Guild, 6 Rue de la Sorbonne, from 150 fr. 
per month (see p. 55). 

Furnished Apartments are easily obtained in all the principal quar- 
ters of Paris. In winter a furnished room costs 50-100 fr. per month, a 
small suite of rooms 150-250 fr., according to situation; in summer prices 
are much lower. In the Latin Quarter a single room may be obtained for 
45-50 fr. a month. 

3. Restaurants. 

Alphabetical list at the end of the Book, after the Index. 

Paris is indisputably the cradle of high culinary art. As the 

ordinary tables d'hote convey but a slender idea of the perfection to 

which the art is carried, the 'chefs d'oeuvre' must be sought for in 

the first-class restaurants, where, however, the prices are corresponds 



14 



3. RESTAURANTS. 



Preliminary 



ingly high. The following list endeavours to mention most of the 
better restaurants in the quarters chiefly frequented by strangers. 
Even in the more modest establishments, however, which our space 
forbids us to enumerate, the visitor will often be struck by the 
dainty and appetizing way in which meals are served. 

The carte des vins of the more fashionable restaurants exhibits 
a large variety of wines at comparatively high prices. The table- 
wine (vin ordinaire), red or white, supplied at other restaurants, and 
generally somewhat diluted, is of an agreeable flavour. At the 
smaller restaurants it is often advisable to mix the vin ordinaire 
with soda-water (Eau de Seltz ; siphon or demi-siphon) or mineral 
water (e.g. : Eau de St. Galmier or Badoit, Vichy- Celestins, Chantilly, 
and Apollinaris). 

In restaurants a la carte the waiter, on demand CQarcon, V addition 
s'il vous plait!'), brings a written bill, and expects a pourboire of 
8-10 c. for each franc of the amount. If several visits are paid to 
the same house the effect of a good pourboire is very apparent. 

The following list comprises the names of the commonest dishes. 
The triumphs of Parisian culinary skill, so far as the 'cuisine bour- 
geoise' is concerned, consist in the different modes of dressing fish 
and 'filet de boeuf', and in the preparation of 'fricandeaus', 'mayon- 
naises', and sauces. 

1. POTAGES (Soups). 

Potage au vermicelle, vermicelli soup. 

Pdte d'ltalie, soup with Italian paste. 

Potage Julienne , containing finely- 
cut vegetables. 

Potage Paysarme, vegetable brotb. 

Groute au pot, broth with pieces of 
toast. 

Bisque, made from crayfish. 

Potage Saint Germain, green pea soup. 

Purie aux croutons, pea -soup with 
toast-dice. 

Potage Parmentier, potato-soup. 

Oseille, soup flavoured with sorrel. 

Soupe au choux, soup with bread and 
cabbage. 

Soupe a Voignon, soup with onion, 
bread, and grated cheese. 

2. Hors d'ceovre. 
Anchois, anchovies. 
Hareng Saur, pickled herring. 
Thon, tunny-fish. 
Radis, radishes. 
Foie gras, goose's liver. 
Huitres, oysters. 
Saucisson, sliced sausage. 

3. Bcedf (beef). 

Boeuf au naturel, or bouilli, fresh 
boiled beef. 

Boeuf a la mode, with a brown sauce. 

Bifteck, beefsteak (bien cuit, well- 
done; saignant, underdone). 



Entrecdte, resembles a thin rumpsteak. 

Ghdteaubriand, fillet steak. 

Filet aux truffes, fillet of beef with 

truffles. 
Rosbif, roast beef. 
Aloyau, sirloin of beef. 

4. Mouton (mutton). 
Oigot de mouton or de pre" -sale", leg 

of mutton. 
Ragout de mouton or Navarin aux 

pommes, mutton with potatoes and 

brown onion-sauce. 
Selle d^agneau, saddle of lamb. 
Rognons de mouton, sheep's kidneys. 

5. Veau (veal). 

Fricandeau de veau, slices of larded 
roast-veal. 

Blanquette de veau, fricassee of veal. 

Foie de veau, calfs-liver. 

Veau Marengo, stewed veal with brown 
sauce. 

Escalopes de veau, fried cutlets. 

Rognons de veau, veal kidneys (it la 
brochette, roasted on a skewer). 

Veau rdti, roast veal. 

TSte de veau, calf s-head ; a Vhuile or 
a la vinaigrette, with oil and vine- 
gar? en tortue, with a brown sauce. 

Ris de veau, sweetbreads. 

Cervelle de veau au beurre noir, 
calfs-brains with browned butter. 



Information. 



3. RESTAURANTS. 



15 



6. Porc (pork). 
Pieds de pore, pig's trotters. 
Porc r6ti, roast pork. 

7. Volaille (.poultry). 

Chapon, capon. 

Poulet, chicken, prepared in various 
ways. Un quart de poulet, enough 
for two persons at the large restau- 
rants (Vaile ou la cuisse? the wing 
or the leg? the former being rather 
dearer). 

Croquette de volatile, croquette of fowl. 

Canard aux navets, duck with young 
turnips. 

Canard sauvage, vrild duck. 

Caneion a la presse, duckling cooked 
on a chafing-dish in presence of the 
guest, with the juice of the car- 
case squeezed out by a silver press. 

Oie, goose. 

Dindon, dinde, turkey; dindonneau. 
young turkey ; farci, stuffed. 

Pigeon, pigeon. 

8. Gibier (game). 
Perdrix, partridge {aux choux, with 

cabbage and sausage-meat). 
Perdreaux, young partridges. 
Caille, quail. 

Filet de chevreuil, roast venison. 
Lievre, hare; civet de lievre. jugged 

hare. 
Sanglier, wild boar. 
Lapin de garenne, wild rabbit. 

9. Entrees. 
Hdchis Portugais, minced meat with 

poached eggs. 
Escargots de Bourgogne, snails. 
Grenouilles, legs of frogs. 
Vol-au-Vent, light pastry with meat, 

fowl, oysters, etc. 

10. Poisson (fish). 

Saumon, salmon ; fumi, smoked. 

Sole, sole (frite, fried ; au vin blanc, 
with wine sauce ; au gratin, baked 
with bread-crumbs). 

Limande, dab. 

Brocket, pike. 

Carpe, carp. 

Anguille, eel. 

Raie, skate (au beurre noir , with 
browned butter). 

Goujon, gudgeon. 

Merlan, whiting. 

Eperlan, smelt. 

Rouget, red mullet. 

Maquereau, mackerel. 

Truite, trout; truite saumonie , sal- 
mon-trout. 

Matelote d'anguilles^ stewed eels, 



Morue, cod (hollandaise, with pota- 
toes and white sauce). 

Moules, mussels. 

Ecrevisses, crayfish. 

Homard, lobster. 

Langouste, sea-crayfish, resembling a 
lobster. 

Crevettes, shrimps. 

11. Salades (salads). 
Laitue, cabbage-lettuce. 
Romaine, long-lettuce. 
Chicorie, Escarole, endive. 
Cresson, water-cress. 
Pissenlit, dandelion salad. 
Concombre, cucumber. 
Comichons, gherkins. 
Pommes de terre & Vhuile, potato salad 
(/aire la salade, make the salad). 

12. Legumes (vegetables). 

Asperges, asparagus. 

Artichauts, artichokes. 

Petits pois. green, peas (era beurre,with 
butter-sauce ; purie de pois, mash- 
ed peas). 

Haricots verts , French beans ; hari- 
cots blancs, flageolets, or soitsons, 
white beans. 

Choux, cabbages ; chouxfleurs, cauli- 
flowers ; choux de Bruxelles, Brus- 
sels sprouts; choucroute, sauerkraut 
(garnie, with bacon and sausages). 

Aubergine, mad-apple, egg-plant. 

Cepes, Champignons, mushrooms. 

Pommes, pommes de terre, potatoes. 

Pommes a la maitre d'hdtel, potatoes 
with butter and parsley. 

Purie de pommes, mashed potatoes. 

Epinards, spinach. 

Oseille, sorrel. 

Navets, turnips. 

Betteraves, beetroot. 

Oignons, onions. 

Tomates, tomatoes. 

13. Entremets (sweet dishes). 
Omelettes of various kinds (au naturel, 

au sucre, souffle" e , aux confitures, 

aux fines herbes, au rhum, etc. J. 
Beignets, fritters. 

Charlotte de pommes, stewed apples. 
Grime a la vanille, vanilla-cream. 
Gdteau, cake: gateau de riz t a kind 

of rice pudding. 
Glaces, ParfaiU, Bombes, and generally 

Timbales are all names for ices. 

14. Dessert. 

Pomme, apple; Poire, pear; Praises, 
strawberries; Peche, peach; Men- 
diant, almonds, raisins, etc. 

The usual varieties of cheese are: 



16 



3. RESTAURANTS. 



Preliminary 



Fromage (a la crime) Suisse or Ger- 
vais, Coeur, cream-cheese. 

Fromage de Gruyere, Gruyere cheese. 

Fromage de Roquefort, made of a mix- 
ture of sheep's milk and goafs milk. 

Brie, Camembert, Neufchdtel, Pont 
VEvique, kinds of cheese made in 
Normandy. 

15. Wines. 
The following are a few of the finer 
wines : — Red Bordeaux or Claret: 
St. Emilion and St. Julien (2 T /2-4fr.), 
Ghdteau Larose, Ch. Latour, and 
Ch. Laffitte (7-10 fr.). White Bor- 
The bread of Paris is excellent and 



deaux: Graves (172-3 fr.), Sauterne 
(3-4 fr.), Chdteau Yquem (8-12 fr.). 
— Red Burgundy : Beaune (2y 2 -4 fr.), 
Pommard, Volnay, Nuits, Gorton (5- 
9 fr.), Romance, Conti, and Chamber- 
tin (6-10 fr.). White Burgundy : 
Chablis (lV Z -3 fr.), Meursault (4-6 fr.), 
Montrachet (5-10 fr.), and Hermitage 
(6-12 fr.). 

Compared with other wines, Cham- 
pagne is less extensively drunk in 
France than in England. 

Vin frappi, wine in ice. 

Carafe frappie, carafe of iced water. 

has been famed since the 14th century. 



a. Restaurants of the Highest Class. 

In the most fashionable restaurants meals are served only a la 
carte, and evening dress is usual. The portions are generally so 
ample that one portion suffices for two persons , or two portions 
for three. The visitor should, therefore, avoid dining alone. It is 
even allowable in the case of the more expensive dishes to order 
one portion for three persons. The waiter is always ready to give 
information on this point. As a rule, only the principal 'plats' are 
priced in the bill of fare. The %ors d'ceuvre' placed on the table at 
the beginning of a meal, while the soup is being prepared, generally 
add 1-2 fr. per head to the bill, if not expressly declined. The 
exquisite fruit offered for dessert is also a costly luxury, as much as 
3-5 fr. being sometimes charged for a single peach or pear. Various 
'specialties' and rarities are also very expensive. — The restaurants 
mentioned immediately below enjoy the highest reputation for their 
cuisine and cellar. The bill for a small dinner for three persons, con- 
sisting of soup, fish, roast, salad, sweet, and dessert, with a couple 
of bottles of fair wine, will probably amount to at least 40-50 fr. 

In the Centre oe the City (PI. R, 18, 21 ; II) : *Paillard, Rue 
de la Chaussee-d'Antin 2 and Boul. des Italiens 38 (see p. 212); 
*Hotel Ritz (p. 3), Place Yendome 15; *Cafe de Paris, Avenue de 
l'Opera41, W. side; *Durand, Place de la Madeleine 2, E. side; 
*Larue, Place de la Madeleine 3, W. side; *Cafe de la Paix, Boul. 
des Capucines 12, N. side; *Voisin, Rue St. Honore 261 and Rue 
Cambon 16, *Cafe Anglais, Boul. des Italiens 13, S. side, *Henry, 
Rue St. Augustin 30, three long-established houses; *Maire, Boul. 
St. Denis 14 and Boul. de Strasbourg 1 (PI. R, 24; III); *Cafe 
Riche, Boul. des Italiens 16, N. side. — The *Restaurant Prunier, 
Rue Duphot 9, to the S. of the Madeleine, is famous for its oysters 
(closed in summer). 

The restaurants in the Champs-Elysees and the Bois de Bou- 
logne are chiefly frequented in summer. — Champs-Elysees (PL 
R, 15; 17): S. side, ^Restaurant Ledoyen; N. side, ^Restaurant des 



Information. 3. RESTAURANTS. 17 

Amhassadeurs (see p. 41); *Pavillon de VElysee (p. 75); *Laurent, 
CaTre Marigny, Avenue Gabriel; *Ermitage (formerly Chevillard), 
Rond-Poiut des Champs-Elysees 4. — Bois de Boulogne : *Pavillon 
d' Armenonville (PI. B, 6), between the Porte Maillot and the main 
entrance of the Jardin d'Acclimatation, pleasantly situated (p. 236); 
^Pavilion Royal, near the lakes; *Cafe de Madrid, by the Porte de 
Madrid (p. 238) ; ^Restaurant Paillard, at the Pre' Catelan (p. 237). 



b. Other Eestaurants. 

The following list contains many restaurants nearly or quite as 
good as those above mentionod, along with others of a less preten- 
tious character. Visitors may join the table d'hote at any of the 
large hotels, without being a guest there. 

The Restaurants a la Carte are generally more expensive than 
the Restaurants a Prix Fixe, the prices of which are generally posted 
up outside and are inclusive of table- wine. The viands at the latter 
are usually good and the portions adequate, and the choice, though 
more restricted than at the d la carte houses, affords a greater 
variety than table d'hote meals. Being run on economical lines, 
they can supply luncheons or dinners for 1-3 fr. or more, of very 
fair quality though perhaps not always so well served as in a hotel. 
Such houses are marked in our list with the prices. 

The Bouillons Duval, Bouillons Boulant, etc., are restaurants a 
la carte of a cheaper kind, managed in a peculiar way. The food 
is generally good but the portions are rather small,, and the cost 
of a meal can scarcely be less than 2i/ 2 -3 fr. (25 c. extra for a napkin). 
The guests are waited on by women. These houses are very popular 
with the middle and even upper classes, and may without hesitation 
be visited by ladies. Each guest on entering is furnished with a card 
(ftche), on which the account is afterwards marked. A fee (see p. 14) 
is left on the table for attendance ; the bill is then paid, either at 
the desk or through the waitress, and receipted, and is finally given 
up to the 'controleur' at the door. The Bouillons Chartier, where 
the waiting is done by men, are plainer and cheaper. 

Among the Brasseries and Tavernes in our list some are elegant 
establishments a la carte, while others (charges indicated) have fixed 
prices. The tobacco-smoke in the latter is sometimes objectionable. 

Dejeuner is generally served between 11.30 a.m. and 1.30p.m.; Dinner 
(diner) between 6.30 and 9 p.m. At other hours little can be had except 
cold viands. 

1. Eestaurants in or near the Boulevards. 

The establishments of the highest class are mentioned at p. 16. 

We begin at the Place de la Concorde and follow the Boule- 
vards from W. to E. — In the Rue Rotale (PI. R, 18; II). W. side : 
No. 3, Maxim's, an elegantly fitted up restaurant, with an American 
bar and a hotel, frequented mainly at night (for gentlemen only) ; 

Baedekeb, Paris. 16th Edit. 2 



18 3. RESTAURANTS. Preliminary 

No. 25, Taverne Royale (Munich beer), similar to the preceding ; 
No. 21, * Weber (English beer). — Grand -Vatel, Rue St. Honore 275. 
— Place de la Madeleine, W. side:- No. 9, *Lucas (le Grand), first- 
class ; E. side: No. 10, Bouillon Duval. — *Lucas (le Petit; Taverne 
Anglaise), Rue Boissy-d'Anglas 28 (entr. in the adjoining passage). 

Boulevard de la Madeleine (PI. R, 18; II): N. side, No. 8, 
^Restaurant de la Madeleine (Viel), first-class. 

Boulevard des Capucines (PL R, 18; 77). S. side: No. 39, 
Bouillon Duval; No. 35, Bouillon Boulant; No. 3, Restaurant Julien, 
first-class. N. side: No. 14, Grand- Cafe; No. 4, Cafe Americain, 
similar to Maxim's (see p. 17). ■ — Avenue de l'Ope'ra: No. 26, Taverne 
de V Opera (p. 24); No. 31, Brasserie Vniverselle (p. 24), well spoken 
of; same No., Bouillon Duval. — To the E. of the Av. de l'Opera: 
Drouant, Rue St. Augustin 33 (entr. from Rue Gaillon), popular. — 
To the right behind the Opera House: Sylvain, Rue Halevy 12 
and Chaussee-d'Antin 9, good. — Restaurant Italien, Passage de 
l'Opera 23-25 (Italian cuisine). 

Boulevard des Italiens (PL R, 21 ; 77). N. side : No. 20, 
Taverne Laffitte (p. 81); No. 14, Taverne Pousset (p. 24). S. side: 
No. 29, Bouillon Duval; No. 15 bis , *Noel- Peters, Passage des 
Princes 24-30, near the Rue de Richelieu, first-class; No. 7, 
Restaurant Franco-Italien ; Nos. 1-3, *Cafe Cardinal, first-class. — 
To the S. of the Boul. des Italiens: Cafe-Restaurant du Grand U, 
Rue de Richelieu 101 (once frequented by Gambetta; a great resort 
of deputies), well spoken of; Restaurant Gauclair, Rue St. Marc, at 
the corner of the Rue de Richelieu. 

Boulevard Montmartre (PL R, 21 ; III). N. side: No. 20, Re- 
staurant Viennois (Spiess); No. 18, Brasserie Zimmer (p. 24) ; No. 16, 
Taverne Mazarin (de'j. 3 fr., D. a la carte) ; Nos. 10-12, in the Pas- 
sage Jouffroy, Restaurant de la Terrasse Jouffroy (de'j. 3, D. 5 fr. ; 
hotel, see p. 8), Restaurant du Rocher (de'j. l 1 /^? D. 274 fr-)> Diner 
de Paris (Chartier); No. 8, Restaurant de Vichy (de'j. 3fr., incl. coffee, 
D. 31/2 fr.), good; Nos. 8-6, Brasserie Muller el Blaisot (p. 24) ; No. 2, 
Table-d'Hote Blond (de'j. 1% D. 2 fr.). S. side: No. 21, Bouillon 
Duval; No. 1, Bouillon Boulant; No. 21, in the Passage des Pano- 
ramas, Restaurant Beauge. — To the N. of the Boul. Montmartre : 
Restaurant Lapre, Rue Drouot 24; Restaurant du Filet-de-Sole, Rue 
du Faubourg-Montmartre 15 ; Grande Taverne (p. 24), same street 
No. 16 ; Bouillon Duval, same street No. 48 and Rue La Fayette 52; 
Bouillon Duval, Rue La Fayette 63. — To the S. of the Boul. Mont- 
martre : Restaurant Modeme, RueVivienne 45 (D. 2 fr.) ; *Champeaux, 
Place de la Bourse 13, first-class, with summer and winter gardens 
(D. 6fr. and a la carte); Bouillon Duval, Rue du Quatre-Septembre 1 ; 
Restaurant de la Ville-de- Paris, Rue Montmartre 170 (de'j. l 3 / 4 , D. 
3 fr.); Martins Luncheon Bar, near the Exchange (dej. 3 fr.). 

Boulevard Poissonniere (PL R, 21 ; 777). N. side : No. 32, 
Taverne Brebant, at the hotel of that name; No. 24, Restaurant Gazal 



Information. 3. RESTAURANTS. 19 

(de'j. 2, D. 3 fr.); No. 16, *Restaurant Rougemont, at the corner of 
the Rue Rougemont, first-class. S. side: No. 11, Bouillon Duval; 
No. 9, Restaurant de France. 

Boulevard Bonne-Nouvelle (PI. R, 29; III). N. side : No. 42bis ? 
Restaurant Valy (dej. 2-2^2 fr-)? ^os. 34-38, ^Restaurant Marguery, 
adjoining the Theatre du Gymnase, first-class, frequented by mer- 
chants (hotel, see p. 8); No. 26, Restaurant Bonne- Nouvelle (dej. 
1 fr. 60 c, D. 2 fr.). S. side: Nos. 37-35, Brasserie Muller et Blaisot 
(p. 24) ; No. 31, Ducastaing (3 fr. ; p. 24). — To the N. of the Boul. 
Bonne-Nouvelle: Restaurant Viennois (Widermann), Rue d'Haute- 
ville 5 (Viennese cuisine). 

2. Eestaurants near the Jardin des Tuileries and the Louvre. 

In the Rue de Rivoli (PL R, 18, 20 ; //) : ^Restaurant de V Hotel 
Continental (p. 3), Rue de Castiglione 3, at the corner, handsomely 
fitted up, with cafe (de'j. 5, D. 7 fr., incl. wine); No. 172, corner of 
the Place du Palais -Royal, ^Restaurant du Grand-Hotel du Louvre 
(p. 4; dej. 5, D. 6 fr., incl. wine) ; No. 194, at the corner of the small 
Place de Rivoli, Bouillon Duval. — In the Place du Theatre-Francais : 
Restaurant Delpuech (dej. 2, D. 3 fr.). — In the Rue St. Honors' 
(PI. R, 20; II): No. 202, in the Place du Palais-Royal (1st floor), 
Restaurant Leon (dej. l 1 /^ D. 2, with a glass of champagne 3 fr.), 
good; No. 196, Restaurant Reneaux- Per drier (dej. or D. l 3 / 4 fr.), 
good; No. 166, Grand Bouillon Bastide, nearly opposite the Magasins 
du Louvre. — Cafe-Restaurant des Negociants (dej. or D. 3 fr.), Rue 
du Louvre 42 (PL R, 20 ; III), near the Bourse de Commerce, good. 

Palais-Roya-l (p. 88; PL R, 21, II). In the first half of the 
19th century the restaurants here were the most fashionable in Paris. 
Their importance has, however, long since disappeared, though 
their proximity to the Louvre still attracts a number of strangers. 
— Galerie Montpensier (W. side of the garden), from S. to N. : Nos. 
9-12, Cafe Corazza-Douix (Delabre), first-class; No. 23, Restaurant 
de Paris (L. Catelain; de'j. or D. l 3 / 4 -2 fr.). — Galerie de Valois, 
(E. side, near the Rue des Petits-Champs) : No. 105, 1st floor, Table- 
d'Hote Philippe (dej. 1 fr. 60, D. 2 fr. 10 c); Nos. 106-111, Vefour 
Jeune (dej. 3, incl. coffee, D. 4 fr. ; also a la carte), well spoken of. 

To the W. of the Palais-Royal (PL R, 21 ; II). Rue de Riche- 
lieu : No. 47, Restaurant des Dames- Seules (dej. on the 1st floor 90 c.) ; 
No. 49, Restaurant Gittard (de'j. 13/ 4 , D. 2y 2 fr.). 

To the E. of the Palais-Ro YAL (PL R, 21, 20; II, III) : *Au 
Boeuf a la Mode , Rue de Valois 8 (for suppers after the Theatre 
Prangais ; see p. 88) ; * Bouillon Duval, Rue Montesquieu 6 (the chief 
and the best house of this company, p. 17, and the only one with 
male waiters); Ferdy's Restaurant (English and American Bar), 
Rue des Petits-Champs 45. — Between the Palais-Royal and the 
Bibliotheque Nationale: Bouillon Chartier,~Rue des Petits-Champs 15. 

2* 



20 3. RESTAURANTS. Preliminary 

8. Restaurants in the Champs-Elysees and the Bois de Boulogne. 

The establishments of the highest class are mentioned at p. 16. 

In or near the Champs-Elysees: Restaurant du Rond- Point 
(formerly Taverne du Cirque), at the Rond -Point, Avenue Matig- 
non 1; ^Restaurant d' Albe, Avenue des Champs-Elysees 101, higher 
up on the left, at the corner of the Avenue de l'Alma (de'j. 4-5, 
D. 6-7fr.l; Restaurant du Palace Hotel (p. 3), farther up. — In the 
Place de l'Alma (PI. R, 12; I): No. 2, Cafe-Restaurant du Rocher 
(dej. 21/2, D. 3 fr.). — In the Place du Trocade'ro (PI. R, 8, 9; I): 
No. 2, Cafe-Restaurant du Coq. — Restaurant Carron, Av. Victor- 
Hugo 27 (PI. R, 9). 

In or near the Bois de Boulogne. Avenue de la Grande-Arme'e : 
No. 74, Restaurant de la Terrasse (Dehouve), near the end ; No. 79, 
Cafe-Restaurant Joli-Sejour (dej. 2V2» D. 3 fr.); No. 81, Brasserie 
Excelsior ; No. 85, Brasserie de VEsperance (dej. 3, D. 3^2 fr-)- Avenue 
de Neuilly: No. 25, Restaurant Gillet, near the Porte Maillot, with 
cafe' (prices displayed); No. 93, Cafe Dehouve Jeune (Rue d'Orle'ans; 
de'j. or D. 2^2 &•)• Chalet du Touring- Club, near the Porte Maillot 
(dej. 5 fr., D. a la carte); Cafe- Restaurant of the Jardin d'Acclima- 
tation (p. 239; dej. 5, D. 6 fr. in summer, a la carte in winter); 
Cafe de la Cascade, near the Cascade (p. 237), fiTst-class; Cafe des 
Pavilions- Chinois, near the Porte Dauphine (p. 235); Cafe-Restaur- 
ant de Vile, in the lower lake (p. 237); Chalets du Cycle, behind the 
Longchamp race-course (p. 237), near the Pont de Suresnes, a favour- 
ite resort of cyclists. 

4, Restaurants to the E. and N.E. of the Louvre, as far as the Bastille and 
the Place de la Republique. 

The following restaurants are convenient for visitors to the Hotel 
de Ville, the Musee Carnavalet, the Conservatoire des Arts et Me- 
tiers, etc. 

To the E. of the LouvfiE , towards the Place de la Bastille: 
Bouillons Duval. Rue du Pont-Neuf 10, Rue deRivoli47, and Rue 
St. Antoine 3; Brasserie Dreher, Rue St. Denis 1 (Place du Chatelet); 
Taverne Zimmer, at the Chatelet Theatre; Taverne Gruber, Boul. 
Beaumarchais 1, near the Place de la Bastille (D. 3 fr., with coffee). 

To the N.E. of the Louvre, towards the Place de la Repub- 
lique : Bouillons Duval, Rue de Turbigo 45 (near the Rue St. Martin), 
and Place de la Republique 17; Bouillon Chartier, Rue du Temple 
31-33; Bonvalet, Boul. du Temple 29-31 (dej. 2%, D. 31/2 fr-; also 
a la carte). — Boulevard St. Denis: Nos. 11 and 26, Bouillons Duval. 
— Boulevard St. Martin: No. 15, Restaurant du Cercle (de'j. l 3 / 4 , 
D. 2^2 fr-) 5 No. 55, Restaurant de la Porte- St- Martin (de'j. 1 fr. 70 c, 
D. 3 fr.). — Lecomte, entrance Rue de Bondy 48-50, on the N. side 
of the Boul. St. Martin (dej. 2V2, D. 3 fr., with coffee ; also a la carte), 
good. — Aux Merveilles des Mers, at the corner of the Avenue and 
Place de la Republique. 



Information. 3. RESTAURANTS. 21 

5. Restaurants near the Gares St. Lazare, du Nord, de TEst, and de Lyon, 
and near the Butte Montmartre. 

Gare St. Lazare (PI. B, 18 ; see p. 213) : Railway Refreshment 
Rooms, adjoining the Cour du Havre; ^Restaurant du Terminus, at 
the hotel (p. 4 ; dej. 5, D. 6 f r., inch wine) ; ^Restaurant de Rome (Qar- 
nier), Place du Havre 17, first-class ; Blottier, at the corner of the Rue 
St. Lazare and the Rue d Amsterdam ; Cafe Scossa, Rue de Rome 14 
(dej. 2 1 /2? D. 3 fr.); Restaurant de VEurope, Rue Pasquier 44 (dej. 
1 fr. 90, D. 2 fr. 25 c.) ; Restaurant Moderne, Rue du Havre 11 (de'j. 
2, D. 2^2 fr-)) Restaurant du Havre, Rue St. Lazare 109 and Place 
du Havre (de'j. 13/ 4j D. 2 fr.) ; Bouillons Duval, Rue du Havre 12 
and 14, and at the corner of the Rues de Rome and de la Pepiniere ; 
Au Regent, Rue St. Lazare 100 (de'j. 1 fr. 60 c, D. 2 fr.). — Brasserie 
Mollard (Munich beer), Rue St. Lazare 115-117. 

Gare du Nord (PL B, 24; see p. 209): Railway Refreshment 
Rooms, to the right on the facade side; Lequen, Boul. de Denain 9; 
Restaurant des Departs (Barhotte), Rue de Dunkerque 25, opposite 
the station, good; Bouillon Duval, Boul. Magenta 101, at the corner 
of the Rue La Fayette. 

Gare de l'Est (PI. B, 24; see p. 209): Restaurant Schaeffer, at 
the Hotel Francais, Rue de Strasbourg 13, good; Bouillon Duval, 
Rue de Strasbourg 6; Bouillon Chartier, Rue de Strasbourg 8. 

Gare de Lyon (PI. G, 28): ^Railway Refreshment Rooms, at the 
end of the Boul. Diderot, 1st floor (see p. 182; D. 5 fr.). 

Near the Butte Montmartre : Bouillon Boulant , Rue de 
Douai 22, corner of the Rue Duperre', near the Boul. de Clichy ; Re- 
staurant de VHippodrome, at the Hippodrome (p. 43), at the corner of 
the Rue Caulaincourt and the Boul. de Clichy, closed in summer 
(dej. 21/2, B. 23/ 4 fr.). — In aud near the Place Pigalle (PI. B, 20) 
are various establishments in the style of Maxim's (p. 17), much 
frequented after the theatres. 

6. Restaurants on the Left Bank, 

In the Quartier St. Germain (PI. R, 17, II, IV; see p. 288): 
^Restaurant de V Hotel du Palais-d J Orsay (p. 5; 1st floor), first-class 
(dej. 5, D. 6 fr., incl. wine), less expensive but equally good on the 
groundfloor (dej. 3, D. 4fr., incl. wine). — In the Boulevard St. 
Germain: No. 262, Cafe- Restaurant de la Legion-d 'Honneur (de'j. 
21/2, D. 3 fr.); No. 170, Bouillon Duval; No. 100, Bouillon-Restaur- 
ant des Ecoles-Reunis (Chartier); No. 90, Bouillon St. Germain (dej. 
lfr. 60 c, D. 2fr.). — Restaurant Ste. Clotilde, Square Ste. Clotilde 1, 
unpretending (de'j. 1 fr. 60 or 2 fr. 10 c, D. 13/ 4 or 2*/ 4 fr.)- — Bouil- 
lon Duval, Rue de Sevres 67. 

Near the Garb Montparnasse (see p. 335; PI. G, R, 16): ^Cafe- 
Restaurant Lavenue, Rue du De*part 1, to the left of the station, first- 
class. In the Rue de Rennes : No. 171, Cafe-Restaurant de Versailles, 
opposite the station (dej. I 1 ^ &• B fr.) 5 No. 161, Restaurant Leon 



22 4. CAFES. Preliminary 

(dej. 1 fr. 30 c, D. 3 fr.); No. 146, Restaurant de Bretagne (dej. 2i/ 2 , 
D. 3 fr.). Taverne de la Brasserie Dumesnil Freres, Boul. du Mont- 
parnasse 73 (dej. 3, D. 3 Y2 fr. ; also a la carte). 

In or near the Quartieb, Latin (p. 269 ; PI. R, 19, V): Taverne 
du Palais, Place St. Michel 5 (dej. 2 l / 2 , D. 3 fr.) ; *Laperouse, Quai 
des Grands- Augustins 51, near the Pont-Neuf ; Restaurant des So- 
cietes Savantes, Rue Danton 8, near the Boul. St. Germain (dej. 3, 
D. 4 fr.). — Boulevard St. Michel : E. side, No. 25, Cafe- Restaurant 
Soufflot; opposite, Cafe - Restaurant Vachette; No. 61, Restaurant 
Moret (dej. 1 fr. 15, D. 1 fr. 60 c. and 2fi\); No. 63, at the corner 
of the Rue Soufflot, Taverne du Pantheon, good; W. side, No. 26, 
Bouillon Duval; No. 34, Bouillon Boulant. — Restaurant Germain, 
Rue Cujas 22, corner of the Boul. St. Michel (de'j. 1 1/4, D. 1 fr- 60 c). 
— Near the Luxembourg: *Foyot, Rue de Vaugirard 22^ and Rue 
de Tournon 33, first-class, much frequented after the performances 
in the Theatre de l'Odeon; Cafe-Restaurant Voltaire, Place de 
l'Ode'on 1 (dej. 3, D.4fr.). — Taverne de Lorraine, Rue du Sommer- 
ard 33, adjoining the Musee de Cluny (patronized by students; a la 
carte only). 

In the vicinity of the Jardin des Plantes (PI. G and R, 22, 25, 
V; see p. 326) : ^Restaurant de la Tour- d y Argent, Quai de la Tour- 
nelle 15 and Boul. St. Germain, first-class; Cafe de V Arc-en- Ciel, 
Boul. de l'Hopital 2, opposite the station (a la carte and a prix fixe ; 
D. 3 fr.). 

4. Cafes. Brasseries. Pastry Cooks. Tea Rooms. 

Cafe's form one of the great features of Parisian life. An hour 
or two may he pleasantly spent in sitting at one of the small tables 
with which the pavements in front of the cafe's on the Boulevards 
are covered on fine evenings, and watching the passing throng. Most 
of the Parisian men spend their evenings at the cafe's, where they 
partake of coffee, liqueurs, and beer, meet their friends, read the 
newspapers, or play at billiards (50 c.-l fr. 20 c. per hr.) or cards. 
The cafes on the Grands Boulevards, however, with the exception 
of the Grand Cafe in the Boul. des Capucines, generally have no 
billiard-tables. Letters may also be conveniently written at a cafe, 
the waiter furnishing writing-materials on application ('de quoi 
icrire, s'il vous plait' ; fee). Most of the cafes are well furnished 
with French newspapers, but foreign journals are scarce. As a rule 
the cafes are open until 1 a.m., some even longer. 

The best cafes may with propriety be visited by ladies, though 
Parisiennes of the upper class rarely patronize them. Some of those 
on the N. side of the Boulevard Montmartre should, however, be 
avoided, as the society there is far from select. — A good band plays 
in the evenings at many of the cafes and brasseries, especially at 
those on the boulevards. Cafes- Concerts, see p. 41. 



Information. 4. CAFES. 23 

When coffee is ordered at a cafe in the early forenoon the waiter 
usually brings a large cup, which, with roll and butter, costs 3 /4-172 f»- 
(waiter's fee 10 c). In the afternoon the same order produces a small cup 
or glass (un mazagran) of cafe" noir, which cost3 40-75 c. (iced coffee from 
60 c. ; waiter 10 c). Milk (crime) is generally offered at the same time. A 
bottle of cognac is frequently brought with the coffee unordered, and a charge 
made according to the quantity drunk. At the more fashionable cafes a 
petit verre of cognac, kirsch, rhum, curagao, or chartreuse costs 30-60 c, fine 
champagne 60 c.-l fr. — The prices of the 'consommations' are generally 
marked on the saucers on which they are served. 

Tea costs 3 /4-l fr., more with roll and butter (thi complet). Dejeuner may 
be obtained at nearly all the cafes for 272-3 fr., and cold meat for supper. 

Beer may also be procured at most of the cafes, l un bock'' costing 
30-40 c. ; the measure, however, is smaller than at the 'brasseries'. English 
beer costs l-H/2 fr. a bottle. 

Liqueurs (40-75c), diluted with water, are largely consumed as ' ap&ritifs' 
or 'appetizers' before meals. Among these are absinthe, vermouth, menthe 
(white or -green), bitters or amers, anisette, and quinquina. — Strops, or 
fruit-syrups, diluted with water, are to be had in various flavours; e.g. 
sirop de groseille, de framboise, de grenadine, orgeat (prepared from al- 
monds), etc. Lemon-squash ('un citron presse'), sorbet (water-ice), and 
ices (half 75 c, whole V/t-V/tfr.) are also frequently ordered. 

We here mention a very small selection of the thousand cafes 
that Paris contains. 

Grands Boulevards (see also 'Brasseries'). — Place de la Made- 
leine 2, Cafe Durand, also a restaurant, like many others of those 
mentioned helow. — Boulevard des Capucines. N. side: No. 14, 
Grand-Cafe ; No. 12, Cafe de la Paix (foreign newspapers); No. 4, 
Cafe Americain (see p. 18). S. side: No. 3, Cafe Julien; No. 1, 
Cafe- Glacier Napolitain. — Boulevard des Italiens. S. side : Nos. 1-3, 
Cafe Cardinal. N. side : No. 16, Cafe Riche (restaurant, see p. 16). — 
Boulevard Montmartre. N. side: No. 16, Cafe Mazarin, etc. S. side: 
No. 9, Cafe des Varietes, patronized hy actors and journalists; No. 5, 
Cafe de Suede. — Boulevard Poissonniere : No. 14, Cafe du Pont- 
de-Fer. — Boulevard Bonne-Nouvelle. N. side: No. 30, Cafe de la 
Terrasse. — Boulevard St. Denis 9 and 12, corners of the Boul. 
de Sevastopol and the Boul. de Strasbourg, Cafe de France and Cafe 
Francais (commercial). — Place de la Re"publique : No. 23, Grand- 
Cafe de Paris; No. 10, Grand-Cafe Americain. — Boulevard du 
Temple: No. 31, Cafe du Jardin-Turc (Bonvalet). 

Avenue de l' Opera: No. 41, Cafe de Paris (restaurant, see 
p. 16; for suppers after the theatre). 

Palais Royal. In the garden (N. side) : Pavilion de la Rotonde, 
most frequented when the band is playing. — Rue St. Honore, op- 
posite the Avenue de l'Opera: No. 161, Cafe de la Regence, an old- 
established house, a rendezvous of chess-players, of European fame; 
No. 159, Cafe de V Univers. — Place du Palais-Royal: Cafe de Rohan. 

Bois de Boulogne, see under restaurants, p. 20. 

Left Bank. Cafe Voltaire (p. 22), Place de l'Ode*on 1. — The 
numerous cafes in the Boul. St. Michel are chiefly frequented hy 
students and 'e'tudiantes': No. 25, Ca/tf Soufflot^oAl ,CafeVachette, 
at the comers of the Rue des Ecoles (p. 22); No. 20, at the corner 



24 4. BRASSERIES. Preliminary 

of the Boul. St. Germain, Cafe du Musee de Cluny; No. 35, Cafe 
de la Source; No. 47, Cafe d'Harcourt; No. 65, Cafe Mahieu, at the 
corner of the Rue Sonfflot. 

Brasseries. 

English, Bavarian, Strasshurg, Vienna, and other beer may he 
obtained at most of the cafe's (see p. 23) and also at the numerous 
Brasseries or Tavemes. Some of the brasseries are handsomely fitted 
up in the old French or Flemish style, with stained-glass windows. 
Bavarian (Munich or Oulmbach) beer, dark (brune) or light (blonde), 
is supplied at nearly all these establishments. A small glass (un 
quart) costs 30-35 c, a large glass un demi 50-60 c. Those bras- 
series that provide warm meals are also named among the restaur- 
ants (p. 16). 

In or near the Boulevards. Boulevard des Italiens: No. 20, 
Taverns Laffitte ; No. 14, Taverne Pousset (Munich beer). — Boulevard 
Montmartre. N. side: No. 18, *Zimmer; No. 16, Taverne Mazarin 
(p. 18) ; Nos. 8-6, Muller et Blaisot (Munich beer). S. side: No. 13, 
Ducastaing, good. — Rue du Faubo.urg-Montmartre: No. 16, Grande 
Taverne (Munich beer) ; No. 61 (Carret'our de Chateaudun), Taverne 
Montmartre. — Avenue de l'Opera: No. 26, Taverne de I' Opera 
(Munich beer); No. 31, Brasserie Universelle (Munich beer). — 
Boulevard des Capucines 43, S. side, Taverne Tourtel ; see also p. 18. — -_ 
Rue Royale, see pp. 17, 18. — Rue St. Lazare: No. 119, Jacqueminot- 
Graff, a tasteful chalet in the Alsatian style; see also p. 21. — 
Avenue de Clichy 3, Taverne de Paris, new (paintings by Cheret, Abel 
Faivre, Leandre, Steinlen,"Willette, etc.). — Rue Montmartre 149, 
near the boulevard, Taverne du Coq~d J Or. — Boulevard Poissonniere. 
N. side: No. 32, Taverne Brebant (see p. 18). S. side: No. 25, Brasserie 
Gutenberg (Munich beer); No. 13, Gruber (Strasshurg beer). — Rue 
du Faubourg-Poissonniere 42, Juergens (Munich beer). — Boulevard 
Bonne-Nouvelle : Nos. 37-35, MuWer# T .B£aisoi(Munichbeer);No.31, 
Ducastaing (Munich beer). — Boulevard St. Denis : No. 15bis, Taverne 
Gruber; No. 17, Taverne du Negre. — Boulevard de Sebastopol: 
No. 137, near the Boulevard St. Denis, Taverne Flamande (Pilsen 
beer); No. 135, Tournier (Culmbach beer). — Rue du Pont-Neuf: 
Nos. 17-19, Brasserie du Pont-Neuf (Culmbach beer); No. 21, Taverne 
Henri- Quatre. — Rue de Rivoli: No. 130, Brasserie du Lion-Bouge ; 
No. 124, Brasserie de la P alette- d? Or, with pictorial decorations. — 
Rue St. Denis 1, Place du Chatelet, Grande Brasserie Dreher. — 
Boulevard Beaumarchais 1, Gruber (p. 20). — Rue des Pyramides 3, 
near the Tuileries Garden, Brasserie des Pyramides (Munich beer). 

On the L-eft Bank: Taverne du Pantheon (p. 22), Boul. 
St. Michel 63; Dumesnil Freres (p. 22), Boul. du Montparnasse 73. 

The Wine Shops (Dibits de Vins) , which are very numerous , are 
frequented almost exclusively by the lower classes. The wine is usually 
drunk at the counter ('zinc'). Outside some of these shops (e. g. Rue 
Si. Honore 33, at the corner of the Rue des Bourdonnais, p. 91) finely- 



Information. 4. PASTRY-COOKS. 25 

worked iron grilles may be noticed, dating mostly from not later than the 
18th century, to which riders used to attach their horses. — The Bars 
are somewhat in the English style. 

Automatic Bae : Express Bar, Bonl. des Italiens 15 and Boul. St. 
Denis 26. 

Liqueurs: Rocher Freres, Rue Halevy 2$ Erven Lucas Bols, Boul. des 
Italiens 32 (Hot. de Bade). 

Pastry Cooks. 

The Pdtissiers rely mainly upon the sale of their goods for con- 
sumption elsewhere; the customers who frequent them in the after- 
noons to enjoy their 'gouter' (cakes and pastry) are chiefly ladies 
and children. The most celebrated Patisseries are the following: 
Favart (Julien jeune), Boul. des Italiens 9, corner of Rue Favart; 
Frascati, Boul. Montmartre 23 ; Charvin, Rue des Petits-Champs 40, 
Passage de Choiseul; Ragueneau, Rue St. Honore 202, opposite the 
Magasins du Louvre; Patisserie du Grand-Hotel, Place de l'Opera; 
*Chiboust, Rue St. Honore 163, Place duTheatre-Francais; *Rumpel- 
mayer, Rue de Rivoli 226; Bourbonneux, Place du Havre 14; Gage, 
Avenue Victor-Hugo 4; A la Dame Blanche, Boul. St. Germain 196 
(ices). — The Boulangeries- Patisseries are less pretending : Laduree, 
Rue Royale 16; Cateloup, Avenue de l'Opera 25; Wanner (Viennese), 
Rue de la Chaussee-d'Antin 3 ; Rimy, same street No. 45, etc. 

Mention also may be made of the Petites Patisseries, or stalls for the 
sale of cakes, buns, etc.; e. g. Boulevard St. Denis 13 CA Coupe-loujours''), 
and at the beginning of the Rue de la Lune, Boul. Bonne-Nouvelle. 

Afternoon Tea in the English style : Afternoon Tea, Place Ven- 
dome 20; Marlborough Tea Rooms, Rue Cambon 5; Colombin, Rue 
Cambon 6; British Dairy Company, Rue Cambon 8; Rumpelmayer 
(see above), Rue de Rivoli 226; Neal's (Smith's) Tea Rooms, Rue de 
Rivoli 248 (English reading-room); Kardomah, Rue de Rivoli 184; 
Maison Ixe, Rue Halevy 6; Salon Li - Hung - Chang , Boul. des 
Italiens 18; The Tea Cosy (Miss Nowers), Rue St. Placide 18, The 
Chinese Umbrella, Rue du Bac 114, both near the Bon Marche"; 
Champs-Elyse'es 26; Rue St. Honore* 248; Rue des Mathurins 40. 
Also, the *H6tel Ritz (p. 3), the *Elysee Palace Hotel (p. 3; band), 
and the *Palais de Glace (p. 46), these three fashionable. 

The Cremeries, Latteries, or Vacheries are unpretending dairy -shops 
which supply breakfast. A cup of coffee or chocolate costs 25-30 c, cake 
5-10 c. : cafe au lait, with two eggs, bread, and napkin 1 fr. Those at 
No. 4, Boul. des Italiens and 146, Rue de Rivoli, may be mentioned. 

5. Baths. Hairdressers. Lavatories, etc. 
Baths. — "Warm Baths ('bain ordinaire' V2-I &•» towels extra) : 
Bains de la Samaritaine, on the Seine, below the Pont-Neuf, right 
hank; des Tuileries, near the Pont-Royal, Quai Voltaire; de Diane, 
RueVolney5; Vivienne, Rue Vivienne 15; Sainte-Anne, Rue Ste. 
Anne 63 and Passage Choiseul 58 ; de la Chaussee-d'Antin, Rue de la 
Chaussee-d'Antin 46; Chanter eine, Rue delaVictoire46; Gymnasium, 
Boul. des Italiens 10 (80 c-5 fr.); Piscine Montmartre, Rue Mont- 



26 5. HAIRDRESSERS. Preliminary 

niartre 163, near the boulevard; Bains Racine, Rue Racine 5; xlu 
Colisee, Rue du Colisee 14, near the Champs-Elysees. 

Turkish , Vapour , and other baths : Hammam , Rue des Ma- 
thurins 18, corner of the Rue Auber (entrance for ladies, Boul. 
Haussmann 47; Turkish bath 5 fr.); Balneum, Rue Cadet 16 bis 
(2 fr.); Hammam-Monge, Rue du Cardinal-Lemoine 63, on the left 
bank (bath l^-^Vs fr 0- 

Colp Baths in the Seine, open from May 1st to Sept. 30th : 
Grande Ecole de Natation, Quai d'Orsay, near the Pont de la Con- 
corde, one of the best of its kind ; Bains du Pont-Royal (entered 
from the Quai Voltaire) ; du Louvre , near the Pont des Arts ; 
du Pont Neuf, Quai de la Megisserie ; du Pont Solferino (for ladies), 
Quai des Tuileries; des Fleurs, Quai de la Megisserie. The charge 
for admission to these cold baths is 20-60 c. ; towels extra. 

Hairdressers. — Hairdressers (coiffeurs) are to be found in nearly 
every street, often in the entresol. The ordinary charge for hair- 
cutting (taille de cheveux) is 30-50 c. ; shaving (barbe) 20-30 c. 
Shampooing, 'frictions' (dry shampoo), and other extras are gener- 
ally dear. Offers of perfumery, etc., should be refused, as the prices 
are higher than at the shops. Many establishments have ladies" 
rooms also (charge from 1 or l 1 /^ **•)• ^ e se l ec * a few for mention: 
Barnes (English), Passage de la Madeleine; Boul. Montmartre 21, 19 
(Valentin), and 11; Boul. des Italiens 12 (Emile) and 23; Rue Le 
Peletier 4 ; Rue Marengo 2 (Adolphe, near the Louvre) ; Rue de Rohan 2 
(Henri); Rue du Helder 3, etc.; Boul. des Capucines, at the Grand- 
Hotel ; Rue de la Paix 17 ; Boul. St. Germain 180 ■ Boul. St. Michel 36. 
— 'Coiffeurs' for ladies: Auguste (Petit), Rue de la Paix 7; Autard, 
Rue de Castiglione 6 (2-5 fr.) ; Gabriel, Rue St. Honore 229 ; Cotreau, 
Rue Royale 18, in the court. These specialists are generally ex- 
pensive, especially if they attend customers at home (up to 20 fr.). 

Lavatories, etc. — The Chalets de Necessite or de Commodite, 
which are liberally distributed throughout Paris, are generally well- 
kept (5-15 c). Some are provided with washing requisites. — At 
the Place du Theatre- Francais: Rue St. Honore 155, near the omnibus- 
station ; in the Palais-Royal, in the Pe'ristyle Joinville 78, near the 
theatre. Square Louvois, opposite the BibliothequeNationale. Jardin 
des Tuileries, at either end of the Allee des Orangers, on the Rue 
de Rivoli side. Place de la Madeleine, underground. Boulevards: 
Passage de 1' Opera, Galerie du Batometre 9; Passage des Princes 
14bis; Passage Jouffroy 43, near the Boul. Montmartre; Boul. Bonne- 
Nouvelle 40 (Gymnase Theatre). Champs-Elysees, at the bottom, on 
the right, Avenue Gabriel; also farther up, on the right. Luxembourg 
Gardens, between the main AUee and the Boul. St. Michel, and to 
the right, behind the Musee. Pare Monceau, in the rotunda, Boul. 
de Courcelles. Also at all the Railway Stations. — The nearest 
policeman will give information. 



Information. 6. CABS. 27 



6. Conveyances. 

Paris has led the way in modern methods of transport. In 1662, 
if not earlier, under Louis XIV, coaches, called 'fiacres', plied for 
hire , the name being derived from the Auberge de St. Fiacre, 
situated in the street of the same name. An attempt to organize a 
regular service of omnibuses also was made at that period, but 
success in this direction was not achieved until 1827-28. London 
followed suit in 1829. Since the year 1900 new electric and other 
tramways have been opened in large numbers, besides, of course, 
the Metropolitain (p. 30). 

1. Cabs. The ordinary cabs (Voitures de Place or Fiacres) are 
now far outnumbered by taximeter-cabs (Taximetres or Compteurs 
Francois), introduced in 1904. The majority of both classes of 
vehicles are open cabs (voitures decouvertes ; closed in winter), or 
victorias, with seats for two, or three, including the vacant seat on 
the box, or the small folding front seat (strapontin) with which most 
of the victorias are furnished. These third seats can \re occupied 
only with the consent of the driver (which is practically a matter of 
course). Only vehicles with four inside seats are provided with a 
railing on the top for luggage (voitures d, galerie; comp. p. 1), but 
the drivers of the others never refuse to carry a reasonable amount 
of luggage on the box. 

The taximeter-cabs are provided with indicators clearly showing 
the fare due for each drive, thus obviating all uncertainty or risk 
of dispute with the driver. For short drives (fare 75 c. ; see tariff, 
Appx. p. 47) for two persons these cabs are nearly as economical 
as omnibuses and much more convenient. The taximeter bears a 
small flag when the cab is disengaged. The usual pourboire is 15-30 c. 
or more, according to the distance travelled. 

For an ordinary fiacre the fare by day for a single drive (course) 
within the fortifications, no matter what the distance (tariff and 
regulations, see Appendix, p. 46), is Wj^ fr- an( i 25 c. pourboire 
(50 c. if the 'strapontin' is used). For long distances, therefore, they 
are cheaper than the taximeter-cabs and it is frequently worth while 
to take a cab in preference to the dilatory omnibus. The charge by 
the hour (2 fr.) is also very moderate, and is on that account not 
popular with the drivers. Although they are legally bound to con- 
form to it they are always ready with some evasive pretext. 

The carriage - lamps are coloured differently according to the 
Depot to which the cab belongs (see Appx., p. 46). It is important 
to note these, especially when driving home at night (e.g. after the 
theatre), as cabmen, when returning to the depot, cannot be required 
to go far out of their own quarter. 

It should be noted that the rule of the road in France, as on the con- 
tinent generally, is the exact opposite of that which prevails in England. 

On calling a cab, the hirer should obtain the driver's number (votre 
nvmtro!), which is a licket containing the tariff of fares and the number, 



28 6. OMNIBUSES AND TRAMWAYS. Preliminary 

and keep it in case any dispute should take place, or any article be left 
in the cab. Complaints may be made to the nearest policeman, or at one 
of the offices which are to be found at every cab-stand. 

Cabs whose drivers wear tchite hats are usually the most comfortable 
and the quickest. India-rubber tires are indicated by small bells on the 
horse's neck. 

Flies. Those who are desirous of exploring Paris expeditiously 
and comfortably are recommended to hire a Voiture de Grande Remise 
(without a number') by the day (30 t'r. 1 or by the week. Application 
should be made at the ot'tices of the Compagnie Generate desYoitures, 
Place du The'atre-Franeais 1 and Boul. des Capueines 22, or at those 
of the Compagnie "Crbaine, Eue Taitbout 59. Cabs of this description 
are also to be found on the stands near the Opera, the Madeleine, 
etc. ; bargaining necessary (drive, about 3 fr.). 

Carriage-Hirers. Bdkmger y Eue du Mont-Thabor 3S : Comoy t {- , : 
Faubourg St. Hcucre 252: A. Eio-tnhl, Boulevard Monttnartre 14. 

Motor-Cabs ( Automobiles) are of two kinds. The 'Automobiles 
a I'heure' (no tariff) come under the same category as the 'voitures 
de grande remise', and are often stationed in the same place. They 
may always be obtained at the central depot. Rue Hale'vy, to the 
right of the Opera, and generally in front of the Grand-Hotel (p. 3). 
The fare should be agreed upon beforehand (about '20 fr. for i/oday ; 
short drive, about 3fr.). — The 'Automobiles a compteur are divided 
into two categories ( Voitures de Place Au'omobiies and Automobiles 
de Place , each with its own tariff (see Appx.. p. 47), These are 
few in number and have no fixed stands. They are somewhat ex- 
pensive though useful to those who desire to see a great deal within 
a limited time. 

2. Omnibuses and Tramways: Motor Omnibuses. Omnibuses 
and tramways cross the city in every direction from 6 or 7.30 a.m. 
till 11 p.m. or 12.30 a.m. j at many points a vehicle passes every five 
minutes. There are also tramway-lines to Versailles, St. Cloud, and 
other places in the suburbs. To pick out the required line from 
the long list (see Appx.. pp. 34-44) is a tedious process, and the 
visitor may be content to acquaint himself with those that pass in 
the neighbourhood of his hotel, relying for the rest on information 
to be obtained at the nearest omnibus or tramway bureau. 

The ordinary omnibuses belong to the Cotnptigt ties Omnibus, 

founded in 135 s , whose monopoly expires in 1910: the offices of the com- 
pany are at Rue St Honore 155 (Place da Thcatre-Franeais). — For the 
various companies to which the tramways i^soine of them electric"! beL ng, 
see the Appendix, pp. oT-44. — The Fti'niaiktire (cable-tramway 1 of Belle- 
ville (p. '2411 and that -to the Saerc-Cceur (p. '211) should also be mentioned. 

The termini of the lines are placarded on the sides of both omni- 
buses and tramway-cars, and another board is hung behind, showing 
the destination towards which the vehicle is proceeding. The prin- 
cipal places passed en route are also indicated, and the letter of the 
line is marked on different parts of the vehicle. The vehicles are 
also distinguished by their own colour and that of their lamps. 

Passengers may either hail and stop the omnibus (or horse-car) 



Information. 6. OMNIBUSES AND TRAMWAYS. 29 

in the street as in England, or wait for it at one of the numerous 
omnibus-offices. In the latter case, if there are other intending 
passengers, it is usual to ask for a numbered ticket (numero; no 
charge) for the line required. As soon as the omnibus appears, 
places are assigned to the ticket-holders in order, the conductor 
calling out the numbers; when the omnibus is l compleV (notified 
at the back of the vehicle) it drives off, and the disappointed ticket- 
holders have to wait for the next. On Sundays and in rainy weather 
the offices are frequently besieged by crowds of intending passengers, 
and a dreary wait ensues. Electric tramways are supposed to stop 
only at the recognized stations, which are usually indicated by 
placards on the lamp-posts, with an arrow indicating the direction 
(the station is not always the same for both directions). 

The fares on all the lines within Paris are the same, 30 c. inside 
or on the rear-platform (where there is standing-room for 4-5 pass- 
engers) and 15 c. outside (imperiale). On some of the omnibus- 
lines, however, short stages for 10 c. have been introduced (indicated 
in the Appx., pp. 34-37, by the words 'section 10 c.'). The fares 
for places beyond the fortifications are from 10 to 50 c. higher (in- 
side ; outside, or on the platform of those vehicles which have no 
imperiale, 5 to 25 c.) according to the distance. — The fares of the 
electric tramways are 20 or 15 c. within Paris and 5 c. each 'section' 
beyond. 

One of the most admirable features in the arrangements of the 
Parisian omnibus-lines is the system of Correspondances, or per- 
mission to change from one line to another. Thus, if no omnibus 
go in the direct route to the passenger's destination from the part of 
Paris in which he is, he may demand from the conductor, on paying 
his fare, a correspondance for the line which will convey him thither. 
He will then receive a ticket (no charge), and on arriving at the 
point where the two lines cross, the conductor will call out the 
name of the line to which he has to change. Here he proceeds to 
the omnibus-bureau, receives a number, which, without additional 
payment, entitles him to a seat in the first available omnibus going 
in the desired direction, and finally gives up his ticket to the con- 
ductor of the latter immediately on entering. If he does not answer 
to his number when called, he loses his right to correspondance. 
Outside-passengers are not entitled to correspondance unless they 
pay full fare (30 c). The bureau de correspondance is not invariably 
the same as the office at which the passenger alights, but is some- 
times a little way off. 

Since 1906 various lines of Motor- Omnibuses (called Autobus) 
have been started (see Appx., pp. 34-36, lines G, /, J, and AM). 
The fares are the same as in the other omnibuses and the organization 
is similar. The motor-omnibuses are covered on the top. The 
principal stopping -places are indicated by blue placards on the 
lamp-posts. 



30 6. METROPOLITAN RAILWAY. Preliminary 

Largo motor-vehicles called '■Cometes' and Mail Coaches in the English 
style ply in summer to places of interest in the environs; e.g. Cook's coach 
from Place de 1' Opera i to Versailles, at 10 a.m. (return- fare 15 fr., box-seat 
6 fr. extra). Comp. the Daily Mail (p. 54). 

Chars- a -banc or 'Tapissures'' ply through the boulevards and other 
streets during the days of the races to convey passengers to the race- 
course. 

3. Metropolitain (familiarly l Metro'). This electric railway, 
begun ill 1S98, now takes precedence of all other modes of locomotion 
in the interior of the city. Three-fourths of the entire system have 
"been constructed, at an average cost of 193,000/. per mile. With 
the exception of a few elevated sections carried on viaducts, the 
line is entirely underground. The stations, except on the elevated 
portions, are below the level of the streets, like those of the 'Tube' 
railways in London but not so deep (no lift), and the atmosphere is 
similarly oppressive to susceptible people. 

Trains run every 3-4 min. and the stoppages are very brief. 
Uniform fares: 1st cl. 25 c, 2nd cl. 15 c. (2nd cl. return-ticket be- 
fore 9 a.m., 20 c). Books of 10 tickets available by any line may 
be obtained. At certain stations 1st cl. passengers take precedence 
of others. — Routes and list of stations, see Appendix, p. 29. 

The following are the lines actually in operation. 

1. Ligne Principaee (G 1 ^ M.), traversing the centre of the city 
from E. to W., from the Cours de Vincerines (PI. R, 34) to the Porte 
Maillot (PL B, 9; p. 223), via the Place de la Nation (see below), 
Place dc la Bastille (PL R, 25, V; p. 180). and Place de VEtoile (PL 
B, 12, /,• p. 75). 

2N. Ligne Circueaire Nord (Ti/oM.), from the Porte Dauphine 
(PL R, 6 ; p. 235), via the Place de VEtoile (see above) aud the Outer 
Boulevards, to the Place de la Nation (PL R, 31; p. 252), where it 
joins Line 1. 

2 S. Ligne Circueaire Sun (ca. Si/a M.), from the Place de 
VEtoile (see above) to the Place d'ltalie (PL 0,23; p. 334), via the 
Troeadero (PL R, 8, I; p. 230). This line will have direct connection 
with the Place de la Nation when Line 6 (Appx., p. 34) is opened. 

3. Ligne Transversals (ca. 4^/sMOj from the Avenue Yillitrs 
Station (PL B, 15) on Line 2N, to the Place Gambetta (PL R, 33; 
p. 250), via the Place de la Bepublique (PL R, 27. V; p. 84) and the 
Pere-Laehaise Station (PL R. 29) on Line 2N. 

5. Line from the Place d'ltalie (see above) via Place de la Bastille 
(see above), Place de la Bepublique (see above), and Rue de Lancrij 
(PL R, 27; ///), to the Gare du Nord (PL R, 24) aud Gore de VEst 
(PL B, 24); see Appx., p. 33. 

4. River Steamboats. The Bateaux- Onmibus . or small screw 
steamers, which ply on the Seine (subject to interruption by the state 
of the river, fog, ice, etc.), are recommended to the notice of the 
traveller in fine weather, as they move quickly and afford a good 
view of the quays and banks of the river. 



Information. 6. RIVER STEAMBOATS. 31 

There are three different services: (1) From Charenton to Auteuil, 
by the left bank of the river within Paris ; (2) From the Pont d'Auster- 
litz to Auteuil, by the right bank; (3) From the Pont-Royal to 
Suresnes, also by the right bank. The steamboats for Suresnes may 
be recognized by their larger size. In these the fares for the whole 
or any part of the distance are the same. The stations are marked 
on our large Plan of Paris ; the signs © and indicate respectively 
the Charenton- Autenil and the Pont d'Austerlitz -Auteuil lines; 
O indicates the Pont Royal-Suresnes line. Comp. the Appendix, 
p. 48. Each station has two piers; one, up-stream, for the steamers 
going up, and one, down-stream, for steamers coming down. — On 
Sun. and holidays there is a special service between St. Cloud and 
Suresnes (fare 25 c.J. 

Metal tickets (jetons) are taken on board and given up on dis- 
embarking. Fares: from Charenton to Auteuil 10 c, on Sun. and 
holidays 20 c.; Pont d'Austerlitz to Auteuil 10 and 20 c. ; Pont-Royal 
to Suresnes 20 and 40 c. 

The boats ply from 6 or 7 a.m. to 6 or 9 p.m., according to the seasons, 
at intervals regulated by the needs of the service. 

5. Chemin de Fer de Petite Ceinture. — This line, known 
shortly as 'La Ceinture 1 , forms a complete circle round Paris (with a 
branch to the Champ -de- Mars ; through-trains), within the line of 
the fortifications, and connects with the different railways in the 
suburbs. For details, see the Appendix, p. 45. 

Trains run in both directions every 10 minutes, and take 1 hr. 40 min. 
to perform the circuit. The chief station of arrival and departure is the 
Gare St. Lazare (PI. B, 18; p. 32), but trains run also from the Gare 
du Nord (PI. B, 24 ; see below). There is no third class. The fares are 
40 or 20 c. to the first or second station from the point of departure 
(return 60 or 30 c), and 55 or 30 c. beyond that distance (return 90 or 50 c). 

Travellers may avail themselves of this railway, as an alternative to 
the Metropolitan!, to visit points of interest in the suburbs, such as the 
Bois de Boulogne, Pere-Lachaise, and the Buttes-Chaumont, or to make 
the complete circuit of the city. On every side of the town, however, 
except the S.W., the line runs between walls or through deep cuttings 
and tunnels. The seats on the outside ('imperiale 1 ) are scarcely to be 
recommended; they are very draughty and exposed to dust and smoke. 

The Chemin de Fer de Grande Ceinture, which forms a wide circle 
round Paris, connecting the Chemins de Fer de l'Est, de Vincennes, de 
Lyon, and d'Orleans, is of little interest for the tourist. 

7. Railway Stations. Railway Offices and Agents. 

The five railways radiating from Paris start from ten different 
stations. For remarks on the French railway system, see p. xii. 

The i Indicateur des Chemins de Fer\ the Indicateur Paul Dupont, 
and the Livrets Chaix (p. xiii) give complete information regarding all 
trains. — Hotels and Restaurants near the termini, see pp. 10, 21. 

I. Chemins de Fer du Nord. Gake du Nord, Place de Roubaix 
(PI. B, 24; comp. p. 209), for the Lignes de Banlieue to St. Denis, 
Enghien, etc. ; and for the Lignes du Nord to England vid Calais 
or Boulogne, Belgium, Germany vid Liege, etc. The booking-offices 



32 7. RAILWAY STATIONS. Preliminary 

for the trains of the Banlieue, except for the stations beyond St. 
Denis on the Chantilly line, are in front; for the other trains, in the 
arcade to the left. — Gare de la Ceinture et des Trains-Tramirays, 
to the right of the main station. 

II. Chemins de Fer de l'Est. Tvso Stations. 

(1). Gare de l'Est, or de Strasbourg, Place de Strasbourg (PI. B, 
24 ; p. '200), for the lines to Nancy, etc., to Germany vid Metz, to 
Switzerland via Belfort, and to Italy vid the St. Gotthard Tunnel, etc. 

(2). Gare de Yincennes, Place de la Bastille (PI. R, 25, P; 
Metro Stat., see Appx., pp. 29, 33), for the line to Vincennes. 

III. Chemins de Fer de l'Ouest. Three Stations. 

(1). Gare St. Lazare (PI. B, IS; comp. p. 213; Me'tro Stat., 
Appx. p. 32), between the Rue St. Lazare, Rue d' Amsterdam, 
and Rue de Rome. To the left are the Ligne de Petite Ceinture (see 
p. 31); the Ligne du Champ -de- Mars; the Lignes de Banlieue, serv- 
ing St. Cloud, Versailles (right bank), St. Germain, Argenteuil, and 
Ermont. To the right are the Lignes de Normandie (England vid 
Dieppe or Le Havre). 

(2). Gare Montparnasse , or de l'Etat (PI. G, 16; p. 335; 
Metro Stat., Appx. p. 32), Boulevard Montparnasse 44, for the Ligne 
de Versailles (left bank), the Lignes de Bretagne, and the Chemins 
de Fer de VEtat (to Bordeaux via Chartres). 

(3). Gare des Invadides (PI. R, 14; IT), in the Esplanade des 
Invalides, for the Ligne de Courcelles and Champ-de-Mars, the Ligne 
des MoulineauT and St. Cloud (see p. 339), and the Electric Line to 
T'trsaillts (p. 348), but used also for the Lignes de Bretagne and the 
Chemins de Fer de l'Etat (^see above). 

IV. Chemins de Fer d' Orleans. Three Stations. 

(1). Garb du Quai-d'Orsay, or Nouvelle Gare d J Orleans (PI. R, 
17, II; p. 298), for the lines to Orleans, Bordeaux via Tours, the 
Pyrenees, Spain, etc. 

(2). Garb du QuAi-D'AusTERiiiTZ, or Ancienne Gare d'Orleans 
(PI. G, 25, F; Me'tro Stat., Appx., p. 33), connected with the pre- 
ceding by a loop-line. 

(3). Gare du Luxembourg (PL R. 19; V), at the corner of the 
Boulevard St. Michel and the Rue Gay-Lussac , near the Jardin du 
Luxembourg (p. 323), for the lines to Sceaux and Limours. Luggage 
cannot be registered at this station but must be taken to the Station 
de Paris-Denfert (PI. G, 20). The line is to be prolonged to unite 
at the Place St. Michel with that from the Gare du Quai-d'Orsay. 

V. Chemins de Fer de Paris a Lyon et a la Mediterranee. 
Gare de Lyon (PL G, 25, 28; p. 182; Me'tro Stat., Appx., 

p. 29), Boulevard Diderot 20. Trains to Fontainebleau , Dijon, 
Chdlon-sur-Saone, Macon, Lyons, Marseilles, Switzerland vid Pon- 
tarlier and Macon, Italy vid the Mont Cenis Tunnel or vid Nice, the 
Mediterranean, etc. 



Information. 8 POST OFFICE. 33 

Railway Offices. Passengers may book their luggage, order railway- 
omnibuses (ccmp. p. 1), and in some cases even take their tickets, at the 
Railway Parcels Offices in different parts of the city. They must generally, 
however, reach the office 1 hr. before the departure of the train. — There 
are also Enquiry Offices {Bureau/: de Renseignements ) at the Gare St. Lazare 
and the Gare du Nord, and, for the Chemins de Fer de TEtat, at Rue de 
Chateaudun 42. — The office of the Compagnie Internationale des Wagons-Lits 
(sleeping carriages) is No 3, Place de rOpe"ra. The South Eastern and 
Chatham Railway has an office at Boulevard des Italiens 30; the London 
and South- Western Railway at Rue 8t. Honore 253. 

Steamboat Offices. The Paris offices of some of the principal steamship 
companies are as follows: Allan Line, Rue Cambon 47. — American, Rue 
Scribe 9. — Anchor, Rue de la Chaussee-d'Antin 10. — Chargeurs Riunit, 
Boul. Malesherbes 1. — Compagnie Ge'ne'rale Transatlantique , Rue Auber 6. — 
Cunard, Rue Scribe 2bi?. — Dominion, Rue Scribe 9. — Fraissinet, Rue 
Rougemont 9- — Hamburg -Amerika Lmie, Rue Scribe 7. — Holland- America 
Line, Rue Scribe 4. — Messageries Maritimes, Boul. de la Madvleine 14 and 
Place de la He'publique 10. — Peninsular <k Oriental Co., Boul. Haussmann 
61 and Rue des Marais 95. — Royal Mail Steam Packet Co., Rue Hale'vy. — 
Norddeutscher Loyd, Rue Scribe 2. — White Star and Red S'ar, Rue Scribe 9. 

Railway Agents. Cook, Place de TOpera 1 and Rue de Rivoli 250; 
Raymond & Whitcomb, Plate deTOpera 3 (Sleeping-Car Co's offices); Hamburg- 
Amerika Linie, Rue Auber 1 ; Voyages UniverseU, Rue du Kaubourg-Montmartre 
17 and Rue Auber 10; LuHn, Boul. Haussmann 36; Duchemin Rue de Gram- 
mont 20; Voyages Pratiques., Rue de Rome 9; Desroches, Hue du Faub.-Mont- 
martre 21; Voyages Modernes, Rue de TEchelle 1; Grands Voyages, Rue 
du Helder 1, corner of the Boul. des Italiens; Voyages Mondains, Rue des 
Pyramides 4. 

Goods Agents. Pitt <fc Scott, Rue Cambon 47 (also storage of luggage, 
etc.); American Express Co., Rue Scribe 11 (Opera) and Rue des Petites- 
Ecuries 54; Thos. Meadows & Co., Rue du Faubourg-P^issonniere 62; Jan- 
kowsky & Maes, Rue St. Laurent 3. 

8. Post and Telegraph Offices. Telephones. 

Post Office. The Poste Centrale , or General Post Office , is in 
the Rue du Louvre (PI. R, 21 ; III) ; comp. p. 193. The public 
offices are in the gallery next the street; the Poste Restante Office 
in another gallery, to the right. There are also in the different quarters 
of the town over a hundred branch-offices, distinguished at night 
by blue lamps, besides auxiliary offices in shops, with blue placards. 

The ordinary offices are open daily from 7 a.m. from March 1st 
to Nov. 1st (8 a.m. in winter) till 9 p.m. (12 noon on Sun. and 
holidays). Late letters with an extra 5 c. stamp will be despatched 
by the evening-mails if they are posted in the special late boxes 
before the hours indicated beside these boxes. Certain cafes and 
brasseries also undertake to dispatch late letters for a fee of 5 c. up 
to 7 p.m., and the Agence Fournier performs the same service up to 
7.10 from the office of the 'Petit Parisien', Boul. Montmartre 20, and 
up to 7.45 from their own office, Rue de la Bourse 1. — Mail-days for 
foreign parts are advertised at the post-office. Letters to be registered 
must be handed in before 4.30 or 5.30, according to the office. 

The Poste Restante Office (see above) is open daily till 9 p.m. 
Travellers may also direct poste restante letters to be addressed to 
any of the district-offices . In applying for letters , the written or 

Baedeker, Paris. 16th Edit. 3 



34 8. POST OFFICE. Preliminary 

printed name, and, in the case of registered letters, the passport 
of the addressee should always he presented. It is, however, 
preferable to desire letters to he addressed to the hotel or boarding- 
house where the visitor intends residing. 

Letter-boxes (Boites aux Lettres) are also to be found in most 
tobacconists' shops (conspicuous in the evening by their red lamps), 
where stamps (timbres-poste) may also be purchased, at the columns 
on the boulevards, at public buildings, at the railway-stations, etc. 
Newspapers and printed papers should be posted at a post-office. 

Postage of letters, etc. Ordinary Letters or Letter-Cards (cartes-lettres) 
within France, including Corsica. Algeria, and Tunis, 10 c. per 15 grammes 
prepaid; for countries of the Postal Union 25c. (The silver franc and the 
bronze sou each weigh 5 grammes.) — Post Cards 10 c. each, with card for 
reply attached, 20 c. — Picture Post Cards , with not more than 5 words 
besides the adress, in an open envelope, 10 c. 

Newspapers , in Paris: 1 c. each up to 25 gr., 1 fe c. for each addit. 25 gr. ; 
to foreign countries 5 c. per 50 gr. — Other Printed Papers (imprimis sous 
bande; the width of the wrapper not to exceed l /3 of that of the packet): 
1 c. per 5 grammes up to the weight of 20 gr. ; 5 c. between 20 and 50 gr. ; 
between 50 gr. and 3 kg., 5 c. for each 50 gr. or fraction of 50 gr.; to 
foreign countries 5 c. per 50 gr. — Commercial Papers (papiers d'affaires), 
5 c. per 50 gr. up to 3 kg. ; for abroad, 25 c. per 250 gr. or less, and 5 c. per 
50 gr. afterwards. Packets must not exceed 17 ! /2 in. in length. 

Registered Post. The registration fee for letters (lettres recommand&es) 
is 25 c. ; for printed papers , etc. 10 c. — Enclosures of special value 
should be sent by lettre chargie: the value must be written in full (not in 
figures) on the envelope, which must be sealed in at least two places. 
In addition to the postage and the registration fee, these are charged 10 c. 
for every 500 fr. declared (maximum 10,000 fr.), within France; for Great 
Britain (maximum 3000 fr.), 20 c. per 300 fr. declared value. The stamps 
on foreign 'lettres charge'es' must be at a distance from each other. 

Post Office Orders (mandats de poste) to France or Switzerland cost 
5 c. per 5 fr. up to 20 fr. ; 20-50 fr. 25 c. ; 50-100 fr. 50 c. ; 100-300 fr. 75 c; 
300-500 fr. 1 fr. ; afterwards 25 c. for every 500 fr. For most countries in 
the Postal Union: 25 c. for every 25 fr. or fraction of 25 fr. , the maximum 
being 500 or 1036 fr. ; for Great Britain, 10 c. per 10 fr., maximum 250 fr. 
(= 10?.); for the United States, 10 c. per 10 fr., maximum 525 fr. (100 dollars). 

Parcels, though known as ' Colts Postaux\ are not transmitted 
by the French post-office, but by the railway and steamship com- 
panies, which are subsidized for the purpose, or (in Paris) by a pri- 
vate firm. These parcels must not contain gold, silver, jewelry, explo- 
sives or dangerous substances, or anything in the nature of a letter. 

Within Paris. Parcels must not exceed 10 kilogrammes (22 lbs.) in 
weight. The charges are 25 c. per parcel up to 5 kg., 40 c. above that 
weight, or 65 and 70 c. 'contre remboursemenf (i.e. for goods sent for 
'payment on delivery 1 ). Parcels should be handed in at one of the 400 depots 
(tobacconists 1 shops and branch post-offices). The central depot is at Bue 
du Louvre 23. 

Provincial and Colonial Parcels. Small parcels not exceeding 10 kg. 
(22 lbs.) in weight may be forwarded within France and to the French 
colonies at a charge of 60c. for parcels up to 3 kg. (6 3 /5 lbs), SOc. up to 
5 kg., and l*/4 fr. for heavier parcels, delivered at a railway-station or 
post-office; 25 c. extra delivered at a private address. They may be insured 
for 500 fr. on payment of 10 c. 

Foreign Parcels. There is also a parcel-post between France and some 
of the other countries of the Postal Union, parcels up to 11 lbs. being con- 
veyed at a uniform rate: viz. to Germany, Belgium, Switzerland, 1 fr. 10 c; 
Spain, Italy, 1 fr. 35 c. ; Austria-Hungary, Denmark, Netherlands, Tangiera 



Information. 8. TELEGRAPH OFFICES. 35 

(Morocco), Tripoli, 1 fr. 60 c; Great Britain, Sweden, 2 fr. 60 c.; etc. 
These parcels must t>e sealed. 

Telegraph. Telegrams are received for transmission from 7 or 
8 a.m. "up to 9 p.m. at any post-office, and at later hours at the 
following: Till 11 p.m., A v. des Champs-Elysees 33 ; Gare duNord; 
Rue de Vaugirard 24 ; Place de la Republique 10 ; Rue des Halles 9 ; 
Rue Blomet 93 ; Rue Singer 40; Rue de la Bastille 2; Rue Ballu 31 ; 
Boul. St. Martin 41 ; Rue Monge 104 ; Boul. de l'Hopital 26. Till 
Midnight, Rue Sainte-Anne 4; Grand-'Hotel (p. 3); Rue Boissy- 
d'Anglas 3 ; Rue d'Amsterdam 19. All Night, at the Bourse (entrance 
at the hack, Rue Notre-Dame-des-Victoires) and Rue de Grenelle 103. 
The office in the Rue des Halles opens at 7 a. m. summer and -winter. 

Telegrams within France and to Corsica, Monaco, Algeria, and Tunis 
are charged at the rate of 5 c. per word (minimum charge 50 c), names 
of streets, towns, departments, etc., being counted as one word each ; to 
Great Britain, 20 c. per word (minimum 5 words) ; to New York, 1 fr. 25, 
Chicago 1 fr. 55 c. per word. Single words must not exceed 15 letters 
(code-words 10); five figures count as one word. A receipt is given on 
demand (10 c). — Western Union Telegraph Co., Rue Scribe 11. 

The rates per word for other countries are as follows: for Luxem- 
bourg, Switzerland, and Belgium 12 x /2 c. ; Germany 15 c. ; Netherlands 16 c. ; 
Austria-Hungary, Portugal, Italy, and Spain 20 c. ; Denmark, 24'/2 c ; 
Sweden, 28 c; Roumania, Servia, etc., 281/2 c.; Norway 36 c; Russia in 
Europe and Caucasus 40 c. ; Asiatic Russia 1 fr. 5 c. ; Turkey 53 c ; Greece 
53V2-57 c 

Telegrams marked urgent (UUgrammes urgents), taking precedence of 
ordinary telegrams, are charged thrice the ordinary rates. 

Telegraph Money Orders (mandate telegraphiques) for not more 
than 5000 fr. are issued between French offices, and for mot more 
than 500 fr. between France and a few foreign countries (maximum 
for Great Britain 250 fr.), at the same rates as for post office orders 
(see above), in addition to the cost of the telegram. 

There is also a system of Pneumatic Tubes ( Telegraphic pneu- 
matique) for the transmission of messages within Paris and to 
certain places in the environs : cartes pneumatiques Qpetits bleus' ; 
number of words unlimited) 30 c, reply-paid 60 c. ; for letters not 
weighing more than 7 grammes, 30 c; 7-15 gr., 50c, reply-paid 
80 c. j 15-30 gr. (maximum), 1 fr. and 1 fr. 30 c. The cards and 
envelopes may be obtained at the telegraph-offices, to which special 
letter-boxes for the pneumatic post are also attached. 

Wireless Telegrams (Eadiotelegrammes). Messages to be 
despatched by wireless telegraphy to ships at sea are accepted at 
all post-offices in Paris. The charge is made np of the cost of 
the telegram proper and certain accessory charges varying according 
to circumstances, in addition to a 'cotiere' of 75 c per word. The 
charges for a wireless telegram sent^ from a ship are paid by the 
recipient. 

Telephone. Messages can be telephoned from most of the post 
and telegraph offices. Service TJrbain (within Paris), 15 c. per 3 min. 
Service Suburbain : a, with a telephonic exchange in the department 

3* 



36 9. THEATRES. Preliminary 

of the Seine, 25 c. per 3 min. ; b, with an exchange in the depart- 
ments of Seine-et-Oise and Seine-et-Marne ; for charges, see the 
list on the door of the cahin. Service Interurbain (25 c.-3 fr.), 
consult the 'Annnaire des Telephones' at any post-office. Service 
International, with England (London and about 20 of the chief pro- 
vincial towns), Germany, Belgium, Italy, Luxembourg, and Switzer- 
land (England, 10 fr.; Berlin, 6 fr. ; Brussels, 3 fr. ; Rome, 3^ f r - ; 
Luxembourg, 2 1 /2 fr- 5 Bern, 4 fr.; other foreign towns, see list in 
the waiting-rooms.). The chief telephone-offices are in the Rue du 
Louvre (Hotel des Telephones) and at the Bourse. 

Requests to rise the telephone should be addressed to the employe on 
duty in the waiting-room. 

'Urgent' messages maybe exchanged with Germany at treble rates, the 
maximum rate, however, being 15 fr. 

The charge for informing a person of the office and hour at which 
a telephonic communication will be made to him (avis (Tappet tiUplioni- 
que) is 25 c for Paris, for the department of the Seine, or for the de- 
partment of Seine-et-Oise within 15 M. of Paris, and 40 c. for any locality 
beyond 15 M. 

Paris time is 8 min. in advance of Greenwich time, a fact to be 
taken into account in arranging for conversations with correspondents in 
England. 

9. Theatres. Music Halls. Balls. Circuses. 

Paris possesses about 20 large theatres , in the proper sense of 
the word, and the traveller doing the 'sights' of Paris should not 
omit to. visit some at least of the principal houses. Performances 
generally begin between 8 and 8.30 p.m., and last till nearly mid- 
night; details are given in the newspapers and the posters on the 
advertisement-pillars devoted to theatres, concerts, balls, etc. At 
most theatres matinees are given in winter on Sundays and holi- 
days, and sometimes on Thursdays. Many of the principal theatres 
are closed in summer. 

An intimate acquaintance with colloquial French, such as can be ac- 
quired only by prolonged residence in the country, is absolutely necessary 
for the thorough appreciation of the acting ; visitors are therefore strongly 
recommended to purchase the play (la piece; 1-2 fr.) to be performed, and 
peruse it beforehand. Dramatic compositions of every kind are sold at 
the Librairie Stock, Rue de Bivoli 27, by Ollendorff, Rue de la Chaussee- 
d'Antin 50, at the Magasin Thidtral, Boulevard St. Martin 12, etc. The 
plays may also be procured in most instances at the theatres themselves. 
Play-bills (le programme, le programme ditailU), or theatrical newspapers 
with the programme of the evening (PEntre-Acte, POrchestre, and others), 
are sold in and outside the theatres, and often contain a resume" of the 
piece. 

The best seats are the fauteuils d'orchestre, or seats next to the 
orchestra, behind which are the stalles d'orchestre, and farther 
back, the parterre, corresponding to the pit. The fauteuils de bal- 
con, or de la premiere galerie, corresponding to the English dress- 
circle, are good seats, especially for ladies. At the Opera House, 
between the fauteuils'd'orchestre and the fauteuils debalcon, which 
are the best seats for ladies, are the Stalles de Parterre (numbered 



Information. 9. THEATRES. . 37 

and reserved), which may be recommended to gentlemen. The 
centre seats in the two following galleries (premieres and deuxiemes 
loges de face) come next in point of comfort. The avant-scenes or 
loges d 1 avant-scenes are the stage-boxes, which may be du rez-de- 
chaussee (on a level with the stage), de balcon, etc. Baignoires 
is the name generally given to the other boxes on the ground- 
floor of the theatre. Ladies are not admitted to the 'parterre', and 
not always to the orchestra stalls, where they are usually expected 
to remove their hats. The arrangement and naming of the seats 
differ in the different theatres , but in all of them the side-seats 
and the two upper galleries should be avoided, especially at the 
Opera. There are usually three or four tiers above the groundfloor, 
which may be known as 'balcon', 'galeries', and 'loges' or 'baignoires'. 
The charges for admission often vary. Seats, numbered and reserv- 
ed, may b^ booked in advance at the office of the theatre {bureau 
de location, generally open from 10 or 11 to 6 or 7), where a plan 
of the interior is shown. Seats-booked in this manner (en location) 
cost in many theatres l /2-^ fr. more than au bureau, i.e. at the doors, 
but this extra expense is often advisable, especially in the case of a 
popular piece. Box-places, however, must be purchased the same 
evening at the doors (except at the Opera House), unless a whole box 
(4-8 seats) is taken. Places may also be secured beforehand at any of 
the theatrical agencies in the Boulevards, the Grand-Hotel, Avenue 
de l'Opera,- etc., but the booking-fee demanded there is much higher. 
Visitors are cautioned against purchasing their tickets from vendors 
in the street. 

Tickets taken at the door are not numbered and do not give the 
purchaser a right to any particular seat in the part of the house to which 
they apply. The attendant (oitvreuse) will direct the visitor to one of the 
unengaged places ; but if any unfair play be suspected, visitors may demand 
la feuille de location, or list of seats booked for the night, and choose any 
seats which do not appear on that list. 

Overcoats, cloaks, etc., may be left at the 'Vestiaire' or cloak room 
(fee 25, or if with a lady 50 c). Gentlemen take their hats into the theatre, 
and may wear them during the intervals of the performances. The 
'ouvreuse 1 usually brings a footstool (petit banc) for ladies, for which she 
expects a gratuity of 10-25 c. 

The Claque, or paid applauders, form an annoying, although time- 
honoured and characteristic feature in most of the theatres. They occupy 
the centre seats in the pit in the large theatres, or one of the upper 
tiers in the others, and are easily recognized by the obtrusive and 
simultaneous vigour of their exertions. There are even ' entrepreneurs de 
succes dramatiques\ who furnish theatres with claques at stated terms, 
the Opera being said to pay as much as 24,000 fr. a year. Strange as it 
may seem to the visitor , all attempts to abolish this nuisance have 
hitherto failed. 

A list of the most important Parisian theatres is here annexed, 
with the prices of the seats 'au bureau' (see above). The first four 
enjoy state-subsidies. 

The Opera, or Academic Nationale de Musique (PL B, R, 18 ; II~), 
seep. 79. The admirable performances of the Parisian opera take 
place on Mon., Wed., and Frid., in winter on Sat. also. Mon. and 



38 9. THEATRES. Preliminary 

Frid. are the fashionable evenings. The ballet and the mise en 
scene are unsurpassed. Evening-dress is de rigueur in the best seats. 
Ladies (without hats) are admitted to the orchestra and balcony- 
stalls. — The first recorded performances of opera in France go bach 
to the 16th century. French works were first produced in 1669, by 
Pierre Perrin, and in 1672 by J. B. Lulli. From 1683 to 1787 the 
opera-house was at the Palais-Royal, tben at the Porte St. Martin, 
and from 1821 to 1874 in the Rue Le Peletier. 

Avant-scenes and premieres loges de face 17; fauteuils de balcon (see 
p. 36), baignoires d'avant-scene, and premieres loges de cote 15; fauteuils 
d'orchestre (see p. 36), deuxiemes loges deface, and baignoires de cote 14; 
deuxiemes loges de cote 10; troisiemes loges de face 8; stalles de parterre 7; 
avant-scenes des troisiemes 5; fauteuils and stalles d' amphitheatre des quat- 
riemes de face 3 and 2 J /2 fr. 

The Theatre Francais (PL R, 21, //; see p. 88), or Comedie 
Franchise, Place du Theatre - Francais , near the Palais-Royal, is 
the great home of classic art, and the acting, whether in tragedy or 
comedy, is unrivalled. Ladies (without hats) are admitted to the 
stalls. — The 'Comedie Franchise' owes its origin to the amalgam- 
ation in 1680 (by command of Louis XIV) of the two companies 
of players directed by Moliere's widow after his death (1673). The 
plays represented at the inaugural performance were Racine's Phedre 
and Moliere's 'Le Medecin malgre lui'. The 'Theatre Franc, ais' 
dates from the French Revolution, when the company was divided 
into two camps, and was the name taken by the secessionists, who 
were headed by the great tragedian Talma. The theatre owes its 
present organization to a decree issued by Napoleon at Moscow in 
1812. 

Avant-scenes des premieres loges 10; premieres loges, avant-scenes des 
deuxiemes, and baignoires 8; fauteuils de balcon 10 and 8; fauteuils 
d'orchestre 8; loges de face de deuxieme rang 6; loges decouvertes de 
deuxieme rang 5; loges de cote de deuxieme rang 4; fauteuils des troisiemes 
loges 4 and 3; troisiemes loges and avant-scenes 3; parterre 272; troisieme 
galerie and fauteuils de la quatrieme 2 fr. 

The Opera Comique (PI. R, 21, II; see p. 82), Place Bo'ieldieu, 
was intended for the performance of the lighter operas, but has 
latterly been devoted to the more ambitious operas and to lyrical 
dramas. Evening-dress as at the Opera. 

Avant-scenes de rez-de-chaussee and de balcon, loges and fauteuils de 
balcon (1st row) 10; baignoires and fauteuils d'orchestre and de balcon 
(2nd and 3rd rows) 8; avant-scenes and loges de face des deuxiemes 6; 
fauteuils du troisieme etage 4 ; stalles de parterre 3 x /2; avant-scenes, loges, 
and stalles du troisieme etage 3 fr. 

The Odeon (PI. R, 19, IV; see p. 325), Place de l'Odeon, ranks 
next to the Theatre Francais for the performance of classical dramas. 
Since 1906 it has been under the management of the actor Antoine, 
formerly director of the Theatre Antoine (p. 39), and modern plays 
are also given. Ladies are admitted to all seats except the parterre. 
Evening-dress usual in the best seats. 

Avant-scenes de rez-de-chaussee and de bulcon 12; baignoires 10; 
premieres loges 8; fauteuils d'orchestre 7; fauteuils de balcon 8 and 6; 



Information. 9. THEATRES. 39 

stalles de la premiere galerie 372 and 272; loges de premiere galerie 3; 
parterre 272 fr. 

The Vaudeville (PL R, 18, 21, 27; see p. 81), at the corner 
of the Rue de la Chaussee-d'Antin and the Boulevard des Capu- 
cines; for dramas and comedies. Prettily decorated. 

Avant-scenes de rez-de-chausse'e and de balcon (4 seats) 15 fr. each seat; 
premieres loges (6, 5, and 4 seats) 12; baignoires (6, 5, and 4 seats) 10; 
fauteuils de balcon, premier rang 12; 2nd row and fauteuils d'orchestre 
10 ; fautenils de foyer 7, 6, and 5 ; loges de foyer de face (0 and 4 seats) 
6 fr. each seat; avant-scenes and deuxiemes loges de foyer 5; troisiemes 
4, 3, and 2 fr. — The prices 'en location'' (p. 37) are the same. 

The Gymnase (PL R, 24, III; p. 83), Boulevard Bonne-Nou- 
velle 38, chiefly for comedies, is one of the best theatres in Paris. 

Avant-scenes de rez-de-chaussee and de balcon 15; fauteuils d'orchestre, 
loges, and fauteuils de balcon premier lang 12; baignoires and fauteuils 
de balcon deuxieme rang 10; fauteuils de foyer 7, 6, and 5; avant-scenes 
de foyer 5; stalles de deuxieme galerie 4 and 3 ; avant-scenes de deuxieme 
galerie 2; troisieme galerie 2 and 172 fr. — The prices 'en location 1 
(p. 37) are the same. 

Theatre Sarah Bernhardt (PI. R, 23, F; p. 174), Place du 
Chatelet, under the management of the celebrated actress, who 
sometimes takes the leading parts. 

Avant-scenes de rez-de-chaussee and de balcon 15; baignoires, loges, 
and fauteuils de balcon premier rang 12; fauteuils de deuxieme rang and 
d'orchestre 10; premiere galerie 7; fauteuils de premiere galerie 6; avant- 
scenes and fauteuils de la deuxieme galerie 4; stalles de parterre 3'/2; de 
deuxieme galerie 272; amphitheatre 1 fr. — The prices 'en location 1 (p. 37) 
are the same. 

Theatre Rejane (formerly Nouveau-The'atre), Rue Blanche 15 
(PL B, 18, 17), under the management of Madame Rejane. 

Avant-scenes de rez-de-cbaussee and de premiere 15; lo^es and baig- 
noires 12; fauteuils d'orchestre 12 and 10; fauteuil3 de balcon 12, 10, 
and 7; fauteuils de 
(p. 37) are the same. 

Theatre de la Porte St. Martin (PL R, 24, III- p. 84), Boule- 
vard St. Martin 16. Dramas, etc. M. Coquelin the Elder sometimes 
acts here. 

Avant-scenes de premieres and de rez-de-chaussee 10; baignoires 8; 
loges de premier balcon 7 ; de deuxieme balcon 5 ; fauteuils de premier 
balcon 8 and 7; fauteuils d'orchestre 7 and 5; deuxieme and troisieme 
balcon 5 and 372; stalles de troisieme balcon 272; stalles d'amphitheatre 
I72 and 1 fr. 

Theatre Antoine (PL R, 24; I/Z), Boul. de Strasbourg 14, for 
modern pieces. Excellent performances, though not invariably 
suited to British tastes. See under Odeon, p. 38. 

Avant-scenes de rez-de-chaussee and de balcon 8; loges 7; baig- 
noires 6; fauteuils de balcon 7 and 4; fauteuils d'orchestre 5; loges de 
foyer and fauteuils de foyer (first row) 3; avant-scenes de foyer 272; 
foyer (other rows) 2; loges, avant-scenes, and stalles de troisieme galerie 
1 fr. — The prices 'en location 1 (p. 37) are the 



The Varietes (PL R, 21, III- p. 82), Boulevard Montmartre 7, 
excellent for vaudevilles , farces , operettas , and similar lively 
pieces of essentially Parisian character. 



40 9. THEATRES. Preliminary 

Avant-scenes de rez-de-chaussee and des premieres (5 seats) 12 fr. each 
seat; baignoires (6, 5, and 4 seats) and loges de premiere galerie (6 and 
4 seats) 10; fauteuils de balcon 12 and 10; faut. d'orchestre 10; faut. de 
foyer 6 and 5 ; deuxieme galerie 4 and 3 fr. — The prices 'en location' (p. 37) 
are the same. 

Theatre de la Gaite (PL R, 24, III; see p. 197), Rue Denis- 
Papin. It has several times changed its specialty. 

The prices vary according to the pieces that are played. 

Theatre des Nouveautes (PI. R, 21, II; p. 81), Boulevard des 
Italiens 28; for operettas, vaudevilles, etc. 

Avant-scenes de rez-de-chaussee and des premieres (4 seats) 127a ; 
baignoires, premieres loges, and fauteuils d'orchestre 8 ; faut. de balcon 8 
and 7; fauteuils de galerie 5 and 4; avant-scenes des deuxiemes 4; stalles 
de galerie 2 fr. 

Theatre du Palais-Royal (PI. R, 21, II; p. 89), a small theatre 
in the Rue Montpensier, at the N.W. corner of the Palais -Royal, 
where vaudevilles and farces of "broad hut very laughable character 
re performed. 

Avant-scenes and fauteuils de balcon premier rang 8; premieres loges, 
baignoires, fauteuils de balcon deuxieme rang 7; fauteuils d'orchestre 8 
and 5; loges and fauteuils de premiere galerie 5; avant-scenes and fauteuils 
de premiere galerie deuxieme rang 4; deuxieme galerie 272 fr. 

Bouffes Parisiens (PL R, 21 ; II), a small theatre in the Rue 
Monsigny 4 and the Passage Choiseul ; pieces of a somewhat daring 
character. 

Avant-scenes 10; baignoires and loges de balcon 10 and 8; fauteuils 
d'orchestre 7 and 5; fauteuils de balcon 8 and 6; loges and fauteuils de 
premiere galerie 4 and 3; avant-scenes de premiere galerie 3; deuxieme 
galerie 2 fr. > — The prices 'en location 1 (p. 37) are the same. 



Theatre de la Renaissance (PI. R, 24, III; p. 84), Boulevard 
St. Martin 18 and Rue de Bondy 19. Comedies, dramas, etc. At 
present occupied by Mme. Jane Hading. 

Avant-scenes de rez-de-chaussee and de balcon 15; baignoires 12; loges 
de balcon and fauteuils de balcon (1st row) 12; other rows 10; fauteuils 
d'orchestre 10 or 12; fauteuils de premiere galerie 7 and 5; avant- scene 
and loges de premiere galerie 5; deuxieme galerie 2 J /2 fr. — The prices 
l en location 1 (p. 37) are the same. 

Theatre des Folies-Dramatiques (PL R, 27, III; p. 84), Rue 
de Bondy 40, near the Place de ]a Republique; comedies, vaude- 
villes, etc. 

Avant-scenes de rez-de-chaussee and de balcon 8; loges de balcon 7; 
fauteuils de balcon and fauteuils d'orchestre 7, 5, and 3; fauteuils de pre- 
miere galerie and avant-scenes des deuxiemes (4 seats) 2; deuxieme galerie 
3 /i-l ; amphithe'atre a J2 fr. 

Theatre du Chatelet, Place du Chatelet (PL R,20, V; seep. 174), 
a very roomy edifice, for spectacular pieces and ballet. 

Loges de balcon (8 and 6 seats) and baignoires (4 seats) l l fe fr. each seat; 
fauteuils de balcon 9 and 8; fauteuils d'orchestre 8 and 6; fauteuils de 
premiere galerie 6 and 5; parterre 3; premier amphitheatre 3; deuxieme 
amphitheatre 2 (Sun. and holidays 2 l fz) fr. 

Theatre de 1'Ambigu (PL R, 24, III; p. 84), Boulevard St. 
Martin 4; dramas, melodramas, and 'patriotic' pieces. 



Information. 9. MUSIC HALLS. 41 

Premieres avant-scenes 9; baignoires and premieres loges 8; fautenils 
de balcon 7, 5, and 4; fauteuils d'orchestre 6 and 5; fauteuils de foyer 4 
and 3 fr. 

Among the best of the other theatres are the following : — 

Theatre de Cluny (PL R, 19; V), Boul. St. Germain 71, the 'Gym- 
nase' of the left bank (seats 1-6 fir.). — Athenee (PI. R, 18 ; 77), Square 
de l'Ope'ra (1-12 fr.). — Theatre Dejazet (PL R, 27, III; p. 85), 
Boulevard du Temple 41 (72-5 fr.). — Funambules, Rue St. Lazare 18 
(PL B,18, II; 3-8 fr.); Theatre des Capucines, Boul. des Capucines 39 
(PL R, 18, II; fauteuils 12 fr.); Comedie Mondaine (PL B, 20), Rue 
des Martyrs 75, corner of the Boul. de Clichy (60 c- 3 fr.); Theatre 
des Mathurins, Rue des Mathurins 36 (fauteuils 8 and 5 fr.); Theatre 
Trianon-Lyrique (PL B, 20), Boul. de Rochechouart 80 (operettas, 
etc.; 1-5 fr.); Grand Guignol, Rue Chaptal 20bis (5-8 fr.); ThiCdre 
Moncey (realistic pieces), Av. de Clichy 50; Comedie de I'Epoque, 
Boul. Beaumarchais 10. 

The following are Suburban Theatkes, devoted to dramas. Theatre 
Moliere (formerly Buuffes du Nord), Faubourg St. Denis 209 (.V2-6 fr.); des 
Terries, Av. des Ternes 5 (1-3 fr.) ; de Belleville, Rue de Belleville 46; des 
Gobelins, Av. des Gobelins 71; de Grenelle, Rue Croix -Mvert 55; de Mont- 
martre, Place Bancourt; Montpamasse, Rue de la Gaite 31, etc. 



Music Halls. The Folies-Bergere (PL B,21 ; III), Rue Richer 32, 
is a very popular place of entertainment. Visitors either take seats 
or promenade in the gallery, while the performances are going on 
on the stage. Smoking allowed. The society is very mixed. Promen- 
ade 3 , fauteuils 4-8 fr. — The Theatre Marigny (PL R, 15, II; 
p. 75), Avenue Marigny, Champs-Elysees (in summer, with garden; 
promenade 3, fauteuils 5-8 fr.); the Theatre- Concert du Moulin 
Rouge (PLB, 17; p. 216), Place Blanche {'■revues', operettas, realistic 
quadrilles, etc.); the Olympia (PL R, 18; II), Boulevard des Capu- 
cines 26 (3-8 fr.); the Alhambra (PL R, 27, III; the former The'atre 
du Chateau-d'Eau), Rue de Malte 50, near the Av. de la Republique 
(adm. 1-5 fr.); and the Casino de Paris (PL B, 18), Rue Blanche 15 
and Rue de Clichy 16 (3-5 fr.), are establishments of the same kind. 
Some of the cafes-concerts provide similar entertainments. 

Cafes-Concerts. The music and singing at these establish- 
ments are never of a high class, while the audience is of a very 
mixed character. The entertainments, however, are often amusing, 
and sometimes consist of vaudevilles, operettas, and farces. Smok- 
ing allowed. The alluring display of the words ' entree libre 1 outside 
the cafes-chantants is a ruse to attract the public, as each visitor is 
obliged to order refreshments (a i consommatiort), which are gen- 
erally of inferior quality, at a price of 3 / 4 -5 fr. , according to the 
seat and the reputation of the place. "Where admission is charged 
the 'consommation' is not compulsory. — The following may be 
mentioned. In summer: Cafe- Concert des Ambassadeurs (PL R, 
15 ; II), in the Champs-Elysees, the first on the right; the Alcazar 
d'Ete, the second on the right ; and the Jardin de Paris (covered in 



42 9. BALLS. Preliminary 

wet weather; adm. 5 fr., Sun. and holidays at 2 p.m. 1 fr.), on the 
left j Printania, in the Av. de la Grande- Arniee, at the Porte Maillot 
(matinee 50 c, evening performance 1 fr.). In winter (a few open 
also in summer) : the Scala (PI. R, 24; HI), Boul. de Strasbourg 13, 
with a handsome saloon, unroofed in summer (adm. 1-6 fr.) ; the 
Eldorado, No. 4, nearly opposite (1-4 fr.); Parisiana, Boul. Pois- 
sonniere 27 (adm. 2-7 fr.) ; La Cigale (PI. B, 20), Boul. de Roche- 
chouart 120 (adm. 3/4-8 fr.); Grand- Concert Parisien, Rue de l'Echi- 
quier 10, opposite the Rue Mazagran , and Rue du Faubourg-St- 
Denis 37 (i/ 2 -3 fr.); Petit-Casino, Boul. Montmartre 12 (li/ 2 and 1 fr., 
with a 'consommation'); Ba-ta-clan, Boul. Voltaire 50 ( 3 /4-4 fr.); 
La Fourmi (PI. B, 23), Boul. Barbes 10 ; Concert Europeen, Rue 
Biot 5, Place de Glichy; Qdite Bochechouart (PL B, 23), Boul. de 
Rochechouart 15; La Pepiniere, Rue de la Pepiniere 9, near the Gare 
St. Lazare (80 0.-272 Ir j Etoile Palace, Av. Wagram 39, etc. — 
See also under balls. 

Cabarets Artistiques. The establishments that have attained a certain 
celebrity under this name are a kind of cross between the caf^-concert 
and the cafe-brasserie. They are the descendants of the famous but now 
defunct Cabaret du Chat-Noir, founded in 1882 by Eodolphe Salis, which 
was frequented by many celebrated literary men and artists. The enter- 
tainments, which consist of songs, mystic illusions, shadow-plays, etc., 
are often clever, but presuppose a considerable knowledge of colloquial 
French. These cabarets are scarcely suitable for ladies. Most of them 
are situated at Montmartre ('La Butte'') : Bolte a Fursy (political songs; seats 
5-10 fr.), Rue Pigalle 58; Lune-Eousse, Cabaret des QuaVz-Arts, 36 and 62 
Boul. de Clichy; Cabaret Aristide-Bruant, where the visitor's arrival is apt 
to be hailed with jokes in doubtful taste, Conservatoire de Montmartre (shadow- 
plays, etc.), 84 and 108 Boul. de Rochechouart; Les Noctambules (frequented 
by students), Rue Champollion 7. Last of all, the 'cabarets illusionnistes 1 : 
Cabarets de VEnfer and du del, Cabaret du Mant, Boul. de Clichy 53 and 34. 

Balls. The public masked balls given during the Carnival (see 
announcements in newspapers and placards) are somewhat eccentric 
in character, and have lost much of their former glory. Those in the 
Opera House, formerly the most celebrated, are not now given every 
year. Other masked balls ('Redoutes') are held in the Olympia 
(p. 41), the Casino de Paris (p. 41), etc. Prices vary. 

Bals Publics. These 'balls', which take place all the year 
round, may be regarded as one of the specialties of Paris. Many of 
these entertainments, however, have for some years past been to a 
great extent 'got up' for the benefit of strangers, numbers of the 
supposed visitors being hired as decoys by the lessee of the saloon. 
It need hardly be said that ladies cannot attend these balls. The 
chief of these places of amusement on the right bank is the Bal 
Tabarin, Rue Victor -Masse 34, at the corner of the Rue Pigalle 
(PI. B, 20), every evening (2 fr.; Sat. 5 fr.). Next in popularity come 
the Bal Bullier, Carrefour de l'Observatoire 9 (PL G, 19 ; p. 334), 
in the Quartier Latin, noted as a resort of students (adm. 1 or 2 fr., 
chief days Thurs., Sat., and Sun.; concerts also given), and the 
Moulin de la Galette (PI. B, 20), Rue Lepio 77 (Thurs., Sat., & Sun., 
adm. I72 fr.; masked balls on Tues. during the Carnival). 



Information. 9. CIRCUSES. 43 

On Mardi Gras (Shrove Tuesday) and on the Thursday of Mi-Careme 
'confetti'-throwing is largely indulged in by the youth of both sexes. — 
At the Fete du Quatorze Juillet (the anniversary of the taking of the 
Bastille, see p. 180) 'balls'" are held in many of the streets for three con- 
secutive nights (12th to 14th), and grand displays of fireworks are given 
in the Jardin Henri-Quatre (Pont-Neuf), at Montmartre (p. 213), at the 
He des Cygnes (p. 234), etc. 

Circuses. Equestrian Performances, accompanied by acrobatic 
feats, pantomime, etc., are exhibited at tbe following circuses: — 

Nouveau Cirque (PI. R, 18, II; p. 86), Rue St. Honore' 251. 
Adm. 5, 3, and (promenade only) 2 fr. 

Cirque d'Hiver (PL R, 27, III; p. 85), Boul. des Filles-du- 
Calvaire. Performances from Sept. to May. Adm. ^"^ fr. 

Cirque Medrano, or Bourn- Bourn (PI. B, 20; p. 215), Boul. 
Rochechouart 63. Adm. ^ to 4 fr. ; Sun. and holidays, 3 /4-5 fr. 

Cirque Metre-pole (PI. R, 14; IV), Rue Duvivier 21 and Av. de 
La Motte-Picquet 18. Adm. 3/ 4 -5 fr. 

Hippodrome (PL B, 17 ; p. 219), Boul. de Clicby 126. Adm. i/ 2 -5 &■ 



The Musee Guevin, Boul. Montmartre 10, adjoining the Passage 
Jouffroy, founded by the celebrated draughtsman Grevin, is a collec- 
tion of wax figures, resembling Madame Tussaud's in London; open 
1 to 11 p.m. (adm. 1 fr.). It also contains a theatre, where comedies, 
vaudevilles, and operettas are performed (2 fr., inch adm. to the 
waxworks). In the basement are representations of the Roman Cata- 
combs, etc., and a room for cinematograph exhibitions (adm. 50 c). 
Concert 3-6 and 8-10.45. — Establishments of a similar kind are the 
Musee de la Porte St. Denis, Boul. St. Denis 8 (50 c ), and the 
Nouveau Musee, Boul. St. Martin 14 (50 c). 

At the Theatre Robert Houdin, Boul. des Italiens 8, acrobatic 
performances and exhibitions of conjuring are given in the after- 
noon (adm. 2-5 fr.) and cinematograph entertainments in the even- 
ing (1 fr.). 

Theatres de Guignol (Punch & Judy shows) in the Champs-Elysees, 
on both sides of the Avenue Marigny, in the Tuileries Garden, at the Luxem- 
bourg, and in the Pare de Montsouris. 

Panoramas (religious subjects) at Montmartre, see p. 215. — Photorama 
Lumikre, Rue de Clichy 18 (panoramic views of the world), open 2.30-6 and 
8.30-11 p.m. 

Phonographs : Pathe, Boul. des Italiens 24-26 and Rue de Richelieu 98 
(shop) ; Columbia, Boul. des Italiens 34. At the TMdtrophone, at the Theatre 
des Nouveautes, Boul. des Italiens, pieces played at the Opera, the Theatre 
Francais, etc. are heard through the telephone. 

Giant Wheel (Grande Roue de Paris), Avenue de Suffren 74; 1 p.m. to 
midnight in summer, 1 till 6 p.m. in winter; ascent and performances, 50 c. 



10. Concerts. Ait Exhibitions. Sport. Clubs. 
Concerts. The celebrated concerts of the Conservatoire de Musique 
(p. 83), Rue du Faubourg-Poissonniere, take place from November 
to April. Only the highest order of classical music is performed. 



44 10. CONCERTS. Preliminary 

As all the seats are taken by subscription, admission for strangers is 
possible only when tickets are returned by subscribers (apply at the office, 
Rue du Conservatoire 2, on Sat. at 1.30-3 p.m. or on Sun. at 1-2 p.m.). — 
Premieres loges and stalles de galerie 15 fr. ; stalles d'orchestre 12 fr. ; 
loges de rez-de-chausse"e 10 fr. ; deuxiemes loges 9 fr.; troisiemes loges 
5 fr. ; amphitheatre, 1st and 2nd rows 5, other rows 4 fr. 

The Concerts Lamoureux, for classical and modern music, take 
place on Sunday at 3 p. m. In winter in the Salle Gaveau, Rue de la 
Boetie (PI. B, 15 ;IJ). Adm. 2-10 fr. Conductor :M.CamilleChevillard. 

Similar to the last are the Concerts Colonne, which are held on 
Sun. at 2 p. m. in winter in the Theatre du Chatelet (p. 40). 
Adm. 1-8 fr. Conductor: M. Ed. Colonne. 

Concerts of Chamber Music are given occasionally at the concert-rooms 
of Erard, Rue du Mail 13; Plepel, Rue Rochechouart 22; Jlolian, Av. de 
rOpe'ra 32, and other places. See bills and newspaper advertisements. 

Other concerts worthy of mention are: the Concerts Populaires, 
at the Theatre Marigny (p. 41) on Sun. at 3 p. m. in winter; the 
Concerts de la Schola Cantorum, Rue St. Jacques 209 (p. 330); the 
Concerts Rouge, Rue de Tournon 6 ; and the Concerts Touche, Boul. 
de Strasbourg '25. 

Open-air concerts in summer at the Jardin d' Acclimatation 
(p. 238) and during the summer Military Bands play (4-5 p.m. May 
1st- June 15th, and after Aug. 31st, or 5-6 p.m. June 16th-Aug. 
31st) in the gardens of the Tuileries (Sun., Tues., and Thurs.), 
the Palais -Royal (Sun., Wed., and Frid.), and the Luxembourg 
(Sun., Tues., and Frid.), and in several other parks and squares; the 
favourite is that of the Garde Republicaine (programmes in the 
daily papers). 

The best Church Music is heard at the Madeleine (p. 77), St. Roch 
(p. 87), La Triniti (p. 212), Mire-Lame (p. 265), and St. Sulpice (p. 296). 



Art Exhibitions. A number of exhibitions of art take place 
annually in Paris towards the end of winter, in spring, and in 
autumn (see the Chronique des Aits, which appears on Sat., and 
the daily papers). The Socieie Nationals des Beaux-Arts holds its 
exhibition (known as the 'Salon') in the Grand Palais (p. 74) in the 
Champ-Elyse'es from April loth to June 30th ; that of the Societe 
des Artistes Francais, in the same building, lasts from May 1st to 
June 30th. Both are open 8 a.m. -6 p.m. and charge 1 fr. for ad- 
mission (V 2 fr. on Sun. afternoon). On 'varnishing day' (';' our de 
vernissage*) the charge is 10 fr. The exhibitions of the Societe du 
Saloii d'Automne (Sept. and Oct.) and the Union des Femmes 
Peintres et Sculpteurs (Feb.) are also held in the Grand Palais. Ex- 
hibitions are organized also by the Cercle Artistique et Litteraire 
(p. 4? ) and by the Union Artistique (p. 47). The Societe des Artistes 
Independants has its exhibition in the conservatories of the Cours- 
la -Peine (in spring). Smaller exhibitions in the Galerie Georges 
Petit ("Exposition des Femmes Artistes', in Jan.; 1 fr.), Rue Godot- 
de-Mauroi i'2 and Rue de Seze 8; the Galerie des Ctiamps-Elysies, 



Information. 10. SPORT. 45 

Av. des Champs -Elysees 72; the Galerie Vollard (impressionist 
painters, etc.), Rue Laffitte 6 ; the Galerie Durand-Ruel, Rue Laf- 
fltte 16; the Galerie Bernhtim Jeune, Rue Riehepanse 15; the Galerie 
Le Bare de Boutteville, Rue Le Peletier 11; the Galerie 8. Bing 
(art of the East, China, Japan), Rue St. Georges 10; the Galerie 
Haussmann, Boul. Haussmann 67; and the Salon de la Plume ox 
Salon des Cent (monthly^exhibition ; 50 c), Rue des Ecoles 54. 

Horse Races (Courses) take place from February to December. 
Flat races at Longchamp (p. 237), Chantilly (p. 397), Maisons- 
Laffitte (p. 391), St. Cloud (p. 346; trotting-matches), and Tremblay 
(p. 416); steeplechases at Auteuil (p. 234), Vincennes (p. 257; 
half-bred horses), St. Germain- Acheres, and other places. Full 
details in the newspapers. Every year about 8 million pounds 
change hands in bets through the agency of the official -Pari- 
MutueV; of the sums thus circulated l°/o is levied for a fund to 
encourage horse-breeding, 20/ for the relief of the poor ('Assistance 
Publique'), and 4°/o for expenses. Admission: 'pelouse', 1 fr. ; tri- 
bune (covered stand) 5 fr. ; pesage (grand stand) 20 fr., ladies 10 fr. ; 
carriages with one horse 15, with two horses 20 fr. 

Longchamp. Frequent meetings, the first (early in April) being a fashion- 
able fixture, when the new spring fashions are seen in all their glory. 
The 'Grand-Prix'' (10,000/.), the chief French race, is decided about the 
middle, of June, and inaugurates the summer season. The 'Prix du Con- 
seil Municipal' (4000?.) is decided in October. — Auteuil. Races in Feb., 
March, June, July, Nov., and December. The 'Grand Prix d'Auteuil 1 
(6000 1.) is run on the Sunday before the Grand Prix de Paris. — Chantilly. 
Races in spring and autumn. The 'Prix du Jockey-Club 1 (4000/.), the 
French Derby, takes place in spring. 

Saddle Horses may be hired of Duphot, Rue Duphot 12; Lejeune <k Cal- 
mette, Hue d'Enghien 42; Peltier, Rue Chalgrin 3; Lalanne.. Rue Troyon 12; 
Hensman, Avenue Bugeaud 55 (the last three near the Bois). The charge 
for a ride of 3 hrs. is 10-15 fr. — Horses and carriages are sold at the 
Tattersal Francois, Rue Beaujon 24. 

Boating is a favourite summer-recreation, the chief starting- 
points being Asnieres (p. 339), Argenteuil (p. 390), Chatou (p. 372), 
and Bougival (p. 375) on the Seine, and Joinville-le-Pont (p. 417) 
and Nogent (p. 416) on the Marne. Regattas are frequently held, 
the eight-oared race at Suresnes, in May, and the international and 
championship contests at Asnieres being the principal fixtures. 

Cycling is a popular amusement in France, where it is even more 
largely patronized as a sport than in England. The highroads between 
Paris and the coast are good, though often destitute of shade; while 
the Bois de Boulogne and the environs of Paris afford excellent 
opportunities to the cyclist. Cyclists entering France with their 
machines must deposit a sum equal to the duty on the latter (22 fr. 
per 10 kg. or 22 lbs.), which is returned to them on quitting the 
country. Members of well-known cycling associations, such as the 
Cyclists' Touring Club (47 Victoria St., London, S.YvV) or the Touring 
Club de France (65 Av. de la Grande- Arme'e, Paris) are spared this 
formality on conditions explained in the handbooks of these clubs. 



46 10. SPORT. Preliminary 

An annual tax of 3 fr. is imposed on every cycle in France (12 fr. 
on motor-cycles), but strangers remaining in the country not more 
than three months receive a dispensation from this tax ('permis de 
circulation' ; 60 c.) on application at the custom-house at the port of 
entry. Every cycle must be furnished with a lamp (to be lighted at 
dusk) and a bell or horn (audible at a distance of 50 metres). 

Cyclists will find it advantageous to join the Touring Club de France 
(see p. 45), the annual subscription to which is=£ fr. (5s.), including a copy 
of the monthly Gazette. The club publishes an Annuaire (1 fr.), with a 
list of cyclists' hotels, repairers, representatives, etc., and also a series of 
Itineraries (5 c. each). 

The rule of the road in France is the reverse of that in England : 
keep to the right in meeting, to the left in overtaking another vehicle. — 
Maps, see p. 51. 

Cycle Shops. CUment-Humber, Rue du Quatre-Septembre 19; American 
Cycles, Place de la Madeleine 6; Hurtu, Peugeot, Cycles Rochet, Avenue de 
la Grande-Armee Nos. 29, 22, and 62. Some of the best English makers 
also have shops in the Avenue de la Grande-Armee. — Cycles may be 
hired (1 fr. per hr., 5 fr. per day) at the cycle-shops and cycle-tracks. 

Cycle Tracks. Piste Vilocipklique Municipale, at Vincennes (p. 257) ; Vilo- 
drome Buffalo, Rue Parmentier 36 (Neuilly-sur-Seine) ; Velodrome de la Seine, 
Eue de Courcelles 173, at Levallois (PI. B, 7); V&lodrome du Pare- des- Princes 
(PI. G, 1), near the station at Auteuil ; Yilodrome de VEst, at Charenton 
(PI. G, 35). Races are frequently held at these, especially on Sunday 
(adm. 1-7 fr.). 

Motoring. On entering France the duty on motor-cars must be 
deposited (50-120 fr. per 100 kg., according to size), but the amount 
is refunded when the country is quitted. A 'permis de circulation' 
(with a registered number to be shown on the car) and a driver's 
certificate must be obtained at the nearsst prefecture (e. g. at Arras 
for motorists landing at Calais or Boulogne). 

Garages. Agence Ginirale des Automobiles Charron, Av. de la Grande- 
Armee 45; Auto-Palace, Auto-Sports, ISTos. 77bis and 72 in the same Avenue; 
Palais de V Automobile, Boul. Pereire 218 ; Auto-Stand, RueDaret20; Oarage 
de Eennes, Boul. du Montparnasse 60; Garage de la SociHe" Paris-Automobile, 
Rue d'Anjou 48 (p. 47). 

Skating (Patinage). Opportunities for open-air skating are few, 
the frosts, as a rule, not holding long enough. The ponds in the Bois 
de Boulogne (p. 237) are the favourite resorts. There is a Skating 
Club, for which one of the ponds is reserved (see p. 238). — Skating 
on artificial ice is practised from October to the end of April at the 
Palais de Olace in the Champs-Elysees (PI. R, 15, II; adm. 2-7 p.m. 
5 fr., 9 p.m. to midnight 3 fr.). 

Golf. There is an excellent golf-course at La Boulie, near Ver- 
sailles (p. 370; 18 holes; 5 fr. per day). Apply to the secretary. 

Polo. Polo Club (many English and American members), at 
Bagatelle, in the Bois de Boulogne (p. 238). 

Fencing. This art is extensively practised in the best French 
society. The principal 'Salles d'Armes' (where lessons may be had) 
are those of Kirchhoffer (Salle Jean -Louis), Place St. Michel 6; 
Merignac Pere, Rue Joubert 32 ; Merignac Fils, Rue Monsieur-le-Prince 
48 ; Ayat, Faub. St. Honore 129 ; Mondoloni, Rue du Bac 40 ; Rouleau, 
Rue St. Honore' 350 ; Rue, Rue St. Marc 14. 



Information. 10. CLUBS. 47 

Boxing. The French, 'boxe', or 'savate', is practised with the feet 
as well as with the hands : Casteres, Rue Nouvelle 3 (Rue de Clichy) ; 
Bayle, Av. deWagram 25; Leclerc Freres, Rue de Richelieu 15, etc. 

Other amusements are Football, played especially in the Bois de Bou- 
logne, near the lakes-, Gross- Country Runs, in the woods in the direction 
of St. Cloud, Ville d'Avray, and Meudon; Bowls, with clubs in the Bois 
de Boulogne and Bois de Vincennes; Lawn-Tennis (Tennis Club de Paris, 
Boul. Exelmans 71); Cricket; Gun Clubs (pigeon-shooting), in the Bois de 
Boulogne, at Billancourt (p. 344), etc. 



Clubs (Cercles). The following are the principal clubs of Paris, 
to most of which strangers are admitted on the introduction of a 
member: Societe d" Encouragement or Jockey Club, Rue Scribe l*>is; 
Cercle de V Union, Boul. de la Madeleine 11 ; Cercle de la Rue Eoyale, 
Place de la Concorde 4 and Rue Royale 1 (p. 67) ; Cercle Agricole, Boul. 
St. Germain 284; Sporting-Club, Rue Caumartin 2; Union Artistique 
('l'Epatant'), Rue Boissy-d'Anglas 5 ; Cercle Artistique et Litteraire, 
Rue Volney 7; Cercle des Chemins-de-Fer, Rue de la Michodiere 22; 
Cercle Philidor (chess), Boul. de Strasbourg 18; Automobile Club, Place 
de la Concorde 6 (p. 67); Yacht Club, Boul. Haussmann 82; Cercle 
Militaire (or 'Cercle National des Arme'es de Terre et de Mer'), 
Av. de l'Opera 49 (p. 79) ; Cercle des Capucines, Boul. des Capu- 
cines 6; Grand Cercle, Boul. Montmartre 16; Cercle de VEscrime 
et des Arts, Rue Taitbout 9 ; Cercle Central des Lettres et des Arts, 
Rue Vivienne 36 ; Cercle de la Librairie, Boul. St. Germain 117; 
Touring Club de France, Av. de la Grande-Armee 65; Club Alpin 
Francais, Rue du Bac 30; Racing-Club de France (athletics), Rue de 
la Chaussee - dAntin 10 and in the Bois de Boulogne (p. 237); 
Societe du Polo, Pelouse de Bagatelle (p. 238), with club-house and 
stables for ponies (seasons, April- July and Sept.-Oct.); Societe Paris- 
Automobile, Rue dAnjou 48-50 ; Aeronautique- Club de France, Rue 
Jean -Jacques Rousseau 58; Aero-Club, Faubourg St. Honore 84 ; 
Club Nautique de Paris, Rue de la Tacherie 8. 

English Clubs. British Club, Boul. Malesherbes 8 (visitors 
25 fr. per month); Travellers', Hotel de la Pa'iva, Avenue des 
Champs -Elysees 25; Union, Boul. des Italiens 6; British Lady 
Artists, Rue Brea 19; Island Club (social and athletic), He des 
Anglais, NeuUly. 



11. Shops and Bazaars. 

Shops. The most attractive are those in the Grands Boulevards, 
the Rue de la Paix, Avenue de l'Opera, Rue Royale, Rue du Quatre 
Septembre, and Rue de Rivoli., but there are large and much- fre- 
quented emporiums in other parts of the city. 

A few of the best and most respectable of the innumerable 
and tempting 'magasins' of Paris are here enumerated. The prices 
tend to be somewhat high. The 'prix-fixe' system now obtains almost 



48 U. SHOPS. Preliminary 

universally, and, in the larger and more reputable establishments 
especially, strangers run little risk of being fleeced. 

The Grands Magasins de Nouveautes, large establishments 
for the sale of all kinds of materials for ladies' dress, trimmings, 
laces, etc., form a very important feature of modern Paris, and 
owing to the abundant choice of goods they offer are gradually 
superseding the smaller shops. Perhaps the most important of these 
establishments is the Bon Marche, Rue du Bac 135-137, and Rue de 
Sevres 18-24 (PI. R, 16, IV; see p. 301), rather distant from the 
centre of the town, with which may be mentioned the Grands 
Magasins du Louvre (PI. R, 20; 7/), in the Place du Palais-Royal 
(p. 90) and the Rues de Rivoli, de Marengo, and St. Honore. Of a 
similar character are: Le Printemps , at the corner of the Boul. 
Haussmann and the Rue du Havre ; the Petit St. Thomas, Rue du 
Bac 27-35 ; A la Place Clichy, in the place of that name ; the Ville 
de St. Denis, Rue du Faubourg-St-Denis 91-95; La Samaritaine, 
Rue du Pont-Neuf and Rue de Rivoli; Pygmalion, corner of the 
Rues St. Denis and de Rivoli, and Boul. de Sebastopol 9-17. 

Similar to these Grands Magasins de Nouveautes are the Ba- 
zaars , at some of which all kinds of household requisites and 
luxuries may be obtained, while others devote themselves to cheap 
goods of every kind. Anyone may enter and walk round. The most 
important are : the Gagne-Petit, Av. del'Opera 21-23 ; A la Menagere, 
Boul. Bonne- No uvelle 20; the Bazar de V Hot el- de- Ville, Rue de 
Rivoli 50-54, beside the Hotel de Ville. Of a similar character are 
the Nouvelles Galeries, Avenue de CUchy43. Among the others may 
be mentioned the Bazar Magenta, Boul. Magenta 86 ; the Bazar des 
Holies et des Postes, Rue du Louvre 15^3; and the Bazar du Chdteau- 
d'Eau, Rue du Faubourg-du-Temple 2 and Place de laRepublique 10 ; 
and, on the left bank, the Grand-Bazar de la Rue de Rennes, Rue de 
Rennes 136. 

Antiquities and Curiosities: Caisso et Cie., Boulevard de la 
Madeleine 1; Laurent - Per dreau , Rue Meyerbeer 2, first floor; 
Lowengard, Rue Louis - le - Grand 25 ; A la Memoire de Jeanne 
d' 'Arc (religious objects), Boulevard St. Germain 185; Jamarin, 
Rue de Clichy 35; Seligmann, Place Yendome 23 (Rue de la Paix) ; 
various shops in the Quai Malaquais, Rue La Fayette, Rue Drouot, 
Rue Laffitte, Rue Le Peletier, near the Hotel des Ventes Mobilieres 
(p. 82), Boul. Haussmann, etc. — Chinese and Japanese Goods: 
Galerie S. Bing, Rue St. Georges 10 (p. 45); Dai-Nippon, Boul. des 
Capucines 3. — Ivories: E. Rosenwald , Rue des Archives 64. — 
The depot of the Manufactures et Ateliers d'Art de I'Etat, where the 
choicest products of the Mint (p. 291), the Chalcography department 
of the Louvre (p. 168), and the Sevres Manufactory (p. 345) are on 
sale, is at the corner of the Boul. des Italiens and the Rue Favart. 
— Reproductions of the sculptures at the Louvre may be had at the 
Ateliers des Moulages du Louvre (open daily exc. Mon. till 4 p.m.), 



Information. 11. SHOPS. 49 

entered by the Cour Yisconti and Cour du Sphinx (see Plan, p. 96). 
— Modern works of art : Maison Moderne, Rue desPetits-Ohamps 82. 

'Articles de Voyage' : Moynat , Place du Theatre-Franc, ais 5 ; 
Berlin jeune, Av. de l'Opera 29 ; Au Touriste, Ay. de l'Opera 39 t)is , 
and others, in the same street; and at the Bazaars (p. 48). English 
goods at Old England, Boul. des Capucines 12. 

Bootmakers (bottler, cordonnier; boots and shoes, chaussures) : 
Poivret, Rue des Petits-Champs 32; Pinet, Boul. de la Madeleine 
1; Bacquart (boots), Rue Vignon 36. — For ladies: A la Merveil- 
leuse, Avenue de l'Opera 24 ; Ala Gavotte, same street 26. — Ready- 
made boots (mostly marked prices) may be procured in almost every 
street: Raoul, Boul. des Italiens 22, Boul. Montmartre 2, Rue de 
Rennes 64, etc. ; Au Prince Engine, Rue de Turbigo 29. — English 
boots at Boul. Montmartre 3, 15, and 21; Boul. des Capucines 8. 

Bronzes (bronzes d?art) : Leblanc-Barbedienne, Boul. Poisson- 
niere 30; A. Gauge, Rue Vieille-du-Temple 124; Fumiere fy Gavig- 
not, Avenue de l'Opera 32; Siot-Decauville, Boul. des Italiens 24; 
Conquet, Boul. des Italiens 27; Goldscheider, Rue de Paradis 45 ; Lib* 
erty, Av. de, l'Opera 38; Susse Freres, Rue Yivienne 31. 

Chemists and Druggists: Pharmacie Normale, Rue Drouotl9 
and Rue de Provence 15-17; Pharmacie Centrale des Grands Boule-* 
vards, Rue Montmartre 178, on the boulevard ; Dupuy, Place Ste. 
Opportune 10; Principale, Rue Re'aumur 49; Paillard- Ducatte, 
Place de la Madeleine 8; Grignon, Rue Duphot 2; Th. Leclerc, Rue 
Vignon 10; Pharmacie Homeopathique, Rue des Capucines 8; T. P. 
Hogg, Rue Castiglione 2; Roberts fy Co., Rue de la Paix 5; Beral, 
Rue St. Roch 2 and RuedeRivoli 194 ; W. D. Hogg, Av. des Champs- 
Elysees 62 ; Nathan, Rue Scribe 3 (the last five are English); Swann^ 
Rue de Castiglione 12 (American). 

Chocolate, Tea, etc.: Compagnie Coloniale, Av.de l'Ope'ra 19; 
F. Marquis , Passage des Panoramas 57-59 and Rue Vivienne 44 ; 
Lombart, Boul. de la Madeleine 9; Guerin - Boutron fy fils, Boul. 
Poissonniere 29 and Rue St. Sulpice 28. See also Confectioners. 

Cigars. The manufacture and sale of tobacco Qcaporal ordi- 
naire' and l superieur) and cigars is a monopoly of government. 
The shops, called debits de la regie des tabacs, are distinguished by 
their red lamps. The prices are the same everywhere. English and 
American tobacco may be obtained at various shops in the Rue de 
Rivoli, the boulevards, and other streets frequented by strangers. 

Good imported cigars (25 c. each, and upwards) may be purchased at 
the principal depot, Q/uai cTOrsay 63-, at the Place de la Bourse 15, at Rue 
St. Honore 157 ( l A la Civette'), or at the Grand-Hotel. The prices (marked 
on the open boxes) of the home-made cigars usually smoked range from 
5 to 35 c. There are also special brands manufactured for the restaurants, 
cafes, etc. (25-50 c, each). Cigarettes are sold in packets of twenty at 50-80 c. 
Oriental cigarettes are to be had at Boul. des Capucines 12 and Place de 
la Bourse 15. The ordinary smoking- tobacco is sold in packets of 40 
grammes at 50 and 80 c. Besides the Gaporal, it includes Maryland and 
Levant (of a lighter description). 

Baedekek. Paris. 16th Edit. 4 



50 11. SHOPS. Preliminary 

Passers-by may avail themselves of the light burning in every tobacco 
shop without making any purchase. Postage -stamps may be bought at 
any tobacconist's. 

Confectioners (sweetmeats; see also Chocolate): Boissier, Bo ul. 
des Capucines 7; Siraudin (L. Marquis), Place de l'Opera 3 and 
Boul. des Capucines 17; Bebattet, Rue du Faubourg- St-Honore 12; 
Seugnot, Rue du Bac 28-, Fuller (American confectionery), Rue 
Daunou 4. See also p. 25. — Preserved Fruits (fruits confits) are 
sold in these shops and in most large groceries. Price about 5 fr. 
per kilogramme (2 l / 5 lbs.). 

Delicacies (preserved meats, etc.*; comestibles'): Corcellet, 
Avenue de l'Opera 18 ; Potel # Chabot, Boul. des Italiens 25 and Rue 
Vivienne28; F. Potin, Boul. de Sevastopol 97-103, Boul. Males- 
herbes 45 and 47 (near the church of St. Augustin), Faubourg-St- 
Antoine 99 (also 'English- American grocer'), Rue de Rennes 140, 
etc. ; Epicerie de l' Hotel Terminus (p. 4); Aux Bords du Bhin, Rue 
Richer 47 ; Faguais, Avenue des Champs-Elysees 42, Winterborn, 
same avenue 73 (these two 'English-American' grocers). 

Dressmakers, Milliners, etc. The most fashionable shops are 
to be found in the neighbourhood of the Opera : Rue de la Paix 
(Worth, No. 7), Rue Taitbout (Laferriere, No. 28), Rue Louis-le- 
Grand, Rue du Quatre-Septembre, Rue Auber, and the adjoining 
Boulevards. At these a simple walking- dress is said to cost not less 
than 400 fr., while an evening-costume may amount to 1500 fr. 
Hats and bonnets range from 60 to 120 fr. according to style. It is 
generally possible to reduce the prices by a little bargaining. The 
Grands Magasins (p. 48) have lower charges and employ skilful 
modistes ; while ready-made clothing can also be obtained there, as 
well as in the shops mentioned under Tailors. 

Etchings, Engravings, Posters (eauz-fortes, estampes, af- 
fiches): Danlos, Quai Voltaire 15; Bapilly, Quai Malaquais 9; 
Sagot, Rue de Ohateaudun 39bis 5 Hesselle, Rue Laffltte 13; Stroelin, 
Rue Laffltte 27; Olivier, Rue Bonaparte 20. 

Fancy Articles, see 'Articles de Voyage', Toy Shops, Bronzes, 
Leather; also Bazaars (p. 48). 

Fans (eventails): Faucon, Avenue de l'Opera 38; Kees, Rue 
Poissonniere 46; Duvelleroy, Boul. de la Madeleine 11 and Passage 
des Panoramas 17-18; Le Zephyr, Rue des Petites-E curies 24; 
Buissot, same street 46. Antique fans also at most of these. 

Flowers, see p. 52. 

Furniture (artistic): Boudet, Boul. des Capucines 43; Jansen, 
Rue Royale 6 & 9; Linke, Rue du Faubourg- St -Antoine 170; 
Magasins du Bois Sculpte, Boul. Sebastopol 105 — English furni- 
ture: Maple & Co., Square de l'Opera and Rue Boudreau 5. See also 
Faubourg St. Antoine (p. 252), the centre of the cabinet-makers' 
industry. — Upholstery : Liberty, Avenue de l'Opera 28. — Aubus- 
son carpets : Sallandrouze, Rue des Jeuneurs ; Braquenie, Rue Vi- 



Information. 11. SHOPS. 51 

vienne 16. Oriental carpents: Maple § Co., Rue Boudreau 5; Dal- 
seine, Rue St. Marc 18 ; A la Place Clichy (p. 48). 

Glovers (kid glove, gant de chevreau or de peau; see also 
Hosiers): Gants Jouvin, Rue de la Paix 25 and Place de l'Opera 3; 
Au Carnaval de Venise, Boul. de la Madeleine 3 ; Perrin, Avenue 
de l'Opera 45; Jourdain et Brown, Rue Hale'vy 14; A la Petite 
Jeannette, Boul. des Italiens 3 ; L. Persin, Passage Jouffroy 24-26; 
Guignie jeune, Rue Ste-Anne 34 (Grenoble gloves); Bondet $ Vallier, 
Rue d'Enghien 25; Old England, see Tailors (p. 52). Neckties and 
umbrellas also at most of these. 

Goldsmiths and Jewellers, very numerous and tempting, 
especially in the Rue de la Paix, the Rue Royale, the Boulevards, 
and the Avenue de l'Opera. All genuine gold and silver articles 
bear the stamp of the mint. 

Hatters (chapeliers ; see also Hosiers, Tailors): Delion, Boule- 
vard des Capucines 24 and Passage Jouffroy 21-25 ; A. Berteil, Rue 
de Richelieu 79, Rue du Quatre-Septembre 10, Boul. St. Germain 134 ; 
and Boul., Haussmann 91 ; Pinaud fy Amour, Avenue de l'Opera 41 ; 
Leon, Rue Daunou 21 and Av. des Champs-Elysees 88 ; Diebold, 
Boul. St. Michel 47. 

Hosiers and Shirtmakers (generally dear). Doucet, Rue de 
la Paix 21 ; Roddy (also tailor) , Boul. des Italiens 2; Chemiserie 
Speciale, Boul. de Sebastopol 102; Maison des 100,000 Chemises, 
Rue La Fayette 69 and Rue de Rennes 55 ; the Gagne-Petit (see 
p. 48) and the Grands Magasins (p. 48). 

Maps. Barrere, Rue du Bac 21 ; Chapelot $ Cie., military book- 
seller, Rue and Passage Dauphine 30 (1st floor); Delorme, Rue 
St. Lazare 80; Challamel, Rue Jacob 17 (charts). 

Maps of the Environs of Paris. The Army Ordnance Department ('Etat- 
Major'') has published a coloured map (1906) on a scale of 1: 50,000 (9 sheets 
at 1 fr. CO c. each). The map of the Minister e de PInt&rieur (1:100,000) 
is in one coloured sheet (IV2 fr-V an( ^ * na * °f the Prefecture de la Seine 
(Department of the Seine ; i:5000) in 104 coloured sheets (1895-1900) at 1 fr. 
These can be obtained through Barrere (see above), who has also issued 
maps of the environs of Paris (i : 50,000) in 49 sheets in colours of which 
29 have already appeared (1895-1902), at 3 /* fr. — Cyclist maps : Taride, 
Boul. St. Denis 18-20; Campbell, Passage du Havre 24$ Smith, Rue de 
Rivoli 248 (Plan-Velo series). 

Opticians (spectacles, lunettes; opera -glass, jumeiles; eye- 
glasses, pince-nez] \ Chevalier, Avenue de l'Opera 27; Fischer, Franck, 
Boul. des Capucines, Nos. 12, 25; Meyrowitz (from New York), Rue 
Scribe 3; Eazehroucq, Rue de la Paix 23; Armand, Rue St. An- 
toine 71 ; Tissot, Av. de l'Opera 33; Derogy, Quai de l'Horloge 33; 
Iseli, Boul. St. Germain 149. 

Pastry - Cooes : Patisserie Favart (Julien jeune), Boul. des 
Italiens 9 and Rue Favart 20 ; Biscuits Guillout, Rue Rambuteau 84; 
E. Godineau, Rue de Seze 12. See also p. 25. 

Perfumery : Violet, Boul. des Italiens 29 ; Pinaud, Place Yen- 
dome 18 ; Piver $ Cie., Boul. de Strasbourg 10 ; Gelle Freres, Avenue 



52 11. SHOPS. Preliminary 

de l'Opera 6 ; Lubin, Rue Royale 11 and Rue Ste. Anne 55; Botot, 
Rue de la Paix 17; Agnel, Avenue de l'Ope'ra 16, Rue Ste. Anne 3, 
and Boul. Malesherbes 31 and 83 ; Houbigant, Rue du Faubourg- 
St-Honore 19; Br. Pierre, Place de l'Ope'ra 8; J.V. Bully, Rue 
Montorgueil 67. 

Photographs: Braun, Av. de l'Opera 43 and Rue Louis-le- 
Grand 18 (comp. p. 117); E. Hautecoeur, Av. de l'Opera 35; Paul 
Berger, Rue de Caumartin 62; Pierre Petit tyfils, Rue La Fayette 122; 
Kuhn, Rue de Rivoli220; Qiraudon, Rue des Beaux- Arts 9; A. 
Legros, Rue Bonaparte 21; Bulloz, same address; E. Pirou, Boul. 
St. Germain 5. — Photographic Apparatus : Photo-Hall, Rue Scribe 5 ; 
Verascope Richard, Rue Halevy 10 ; Kodak, Av. de l'Opera 5, Place 
Vendome 4, etc. 

Pictures and Sculptures. At the galleries of Durand-Ruel 
(p. 45) and Georges Petit (p. 44) ; Bernheim jeune $ fils (pictures), 
Av. de l'Opera 36 (comp. p. 45). Ancient paintings at Ch. Sedel- 
meyer's, Rue de La Rochefoucauld 4his-6. Numerous other shops 
in the Rue Laffltte. 

Tailors. Prices of clothing made to measure by a good tailor 
are about 50 to 75% higher than in England. The visitor will do 
well to consult a resident, if possible, before bestowing his order. 
The shops of the best tailors are in the Boul. des Italiens, Av. de 
l'Ope'ra, etc. — Ready-made Clothing : A la Belle Jardiniere (also 
to measure), Rue du Pont-Neuf 2 ; Marx fy fils, Boul. Montmartre 4-6 ; 
Old England, Boul. des Capucines 12, corner of the Rue Scribe; 
Maison de f Opera, Avenue de l'Opera 20 (also for ladies) ; A St. Joseph, 
Rue Montmartre 115; A Reaumur, a huge shop at the corner of the 
Rues Reaumur and St. Denis; Ala Grande Fabrique, Rue deTurbigo 50 
and Rue Reaumur 29 ; 0. Stroem § fils, Rue de la Chaussee-d'Antin 16 
(clothes for motorists). 

Tot Shops : Au Nain Bleu, Boul. des Capucines 27 ; Au Paradis 
des Enfants, Rue de Rivoli 156 and Rue du Louvre 1. 

Watchmakers : L. Leroy tyCie., Boul. de la Madeleine 7 ; Rodanet, 
Rue Vivienne 36 (chronometers at these two); Breguet-Brown, Rue 
de la Paix 12; Gamier, Boul. Haussmann 17; Au Chronometre de 
France, Boul. des Italiens 11. — Lepaute (clocks), Rue Halevy 5; 
Planchon, Rue de la Chaussee-d'Antin 5 ; Fabrique Exacte, Boul. des 
Italiens 18 ; Rousseau (clocks), Rue de Chateau-Landon 4-6 ; Thomas, 
Rue d'Armaille* 22. 

Those who desire to transmit purchases direct to their destin- 
ation should procure the services of a goods-agent (p. 33). 

Flower Markets. Quai aux Fleurs (PI. R, 23 ; V), on Wed. and Sat. 
(a bird-market on Sun.); Place de la Rdpublique (PI. R, 27$ JIT), on Mon. 
and Thurs. ; Place de la Madeleine (PI. R, 18; //), on Tues. and Frid. ; 
Place St. Sulpice (PI. R, 16-19; IV), on Mon. and Thurs.; etc. There are 
beautiful flower-shops in the boulevards and elsewhere ; e.g. Labrousse, Boul. 
des Capucines 12; Lachaume, Rue Royale 10; Bories, Avgustin, Boul. St. Ger- 
main 179, 108; Au Lilas Blanc, Boul. Haussmann 188. — Horticultural 
Show, at the Jardin des Tuileriea (p. 67), in spring. 



Information. 12. BOOKSELLERS. 53 

Commissionnaires, or messengers, are to be found at the corners of 
some of the chief streets (no tariff; 1-2 fr. according to distance). Many 
of them are also Shoeblacks (20 c.). 

12. Booksellers. Reading Rooms. Libraries. Newspapers. 

Booksellers. Oalignani's Library, Rue de Rivoli 224, with library 
(see below) ; W. H. Smith §■ Son (late Neal), Rue de Rivoli 248, with 
library and reading-room (see below) ;Brentano, Avenue de l'Opera 37; 
these three are English and American booksellers. 

Societe d'Editions Litteraires et Artistiques (Libraire Paul Ollen- 
dorff), Rue de la Chaussee-d'Antin 50 (general agents foT Baedeker's 
Handbooks). E. Flammarion fy A. Vaillant, Av. de l'Opera 36bis, 
Boul. des Italiens 10, Boul. St. Martin 3, Galeries de l'Odeon, etc. 
Arnaud, Avenue de l'Opera 26 ; Eug. Rey, Boul. des Italiens 8 
Lemerre, Passage Choiseul 23-31; Haar $ Steinert, Rue Jacob 21 
Le Soudier, Boul. St. Germain 174 ; F. View eg, Rue de Richelieu 67 

C. Klincksieck, Rue de Lille 11; W. Fischbacher, Rue de Seine 33 
(German books at these five); Ch. Eitel, Rue de Richelieu 8 (Russian 
books); Boyveau et Chevillet, Rue de la Banque 22. — Rare books : 

D. Morgand, Passage des Panoramas 55 ; Rouquette, Rue La Fa- 
yette 18; L. Carteret § Cie. (formerly Conquet), Rue Drouot 5; 
Conard, Boul. de la Madeleine 17; Mellet, Galerie Vivienne 45*46. 
The famous house ofHachette $ Cie. is at 79 Boul. St. Germain. — The 
Second-Hand Book Stalls on the quays on both banks, E. of the Pont 
Royal, are interesting. The shops in the Galeries de l'Odeon and the 
numerous bookshops near the Sorbonne may also be mentioned. 

Reading Rooms and Circulating Libraries. Smith, Rue de 
Rivoli 248 (adm. 25 c, per week 1 fr.), well supplied with English 
newspapers and English and American magazines. — The reading 
rooms of the New York Herald, Avenue de l'Opera 49, the Brooklyn 
Daily Eagle, Rue Cambon 53, and the Chicago Daily News, Boul. des 
Capucines 10 (all open gratis), are well supplied with American, 
English, and French newspapers. — Galignani, Rue de Rivoli 224 
(English books, 25-75 c. daily, 3-6 fr. monthly). — The reading- 
rooms are also convenient for letter -writing. — There are also 
Public Libraries, open from 9 a.m. to 4 or 6 p.m., or even later. 

Newspapers. The oldest Parisian newspaper is the 'Gazette de 
France', which was founded in 1631 by Renaudot (p. 264). No fewer 
than 150 journals appeared in 1789, 140 in 1790, and 85 in 1791, 
but most of these were suppressed at various times by govern- 
ment, Napoleon finally leaving only thirteen in existence. On the 
restoration of the monarchy about 150 newspapers and periodicals 
were published, but only eight of these concerned themselves with 
politicaPmatters. Since then the number has been constantly on the 
increase , and now amounts to about 2600. The political papers 
number over 150, and are sold in the streets or at the 'kiosques' 
in the Boulevards (p. 78) at 5, 10, 15, and 20 c. 



54 12. NEWSPAPERS. Preliminary 

Morning Papers. Le Figaro (15 c. ; see p. 211), social and literary rather 
than political; Le Qaulois (15 c), Conservative and social; Le Oil Bias (15 c), 
social and literary, typically French; Le Matin (5 c), Republican, well in»- 
formed; Le Journal (5 c), Republican, but chiefly literary; VEcho de Paris 
(5 c), Nationalist and literary; Le Petit Journal, popular Republican organ 
(see p. 210); V Eclair (5 c), Militarist; Le Soleil (5 c), Orleanist ; La Libre 
Parole (5 c), antisemitic ; VAutorite" (5 c), Bonapartist; La Ci'oix (5 c), 
clerical; Le Petit Parisien, La Lanterne, Le Radical, and Le Rappel (all 5 c); 
are. Radical; V Evenemeni (5 c); Le Siecle (10 c); La Petite Re'publique (5 c), 
L'Humaniti (5 c), both Socialist; L'Aurore (5 c), Radical. — Also, Le Journal 
Officiel (5 c). 

Evening Papers. Republican : Le Journal des Dibats (10 c), moderate, 
one of the best. Parisian papers; Le Temps (16 c), well edited and in- 
fluential; Le Soir (15 c ; published at 9 p.m.); La Liberti (5 c). La Patrie 
(5 c), Nationalist and Militarist; L'lntrcmsigeant (5 c; Henri Rochefbrt), 
La Presse (5 c), organs of the Opposition. La Gazette de France (nee p. 53), 
royalist. 

SroRTiNG Pat-eks: UAuto; Le Monde Sportique; La Vie cm Grand Air 
(illust.); Le Jockey; Paris-Sport. 

Reviews and Periodicals : La Revue des Deux Mondes (the oldest) 
La Nouvelle Revue (Republican); Le Correspondant (Conservative); La Revue 
Illustre'e (artistic); La Revue (formerly Revue des Revues); Revue Gdntrale des 
Sciences; Revue Scientifique ; Revue Critique; La Nature; Revue Bleue, Revue 
Blanche (both literary); Revue de Paris; Annales Politiques et Littt'raires ; 
VEnergie Francaise, and many others. 

Illustrated Journals: V Illustration; Le Grand Illustre'; Le Monde 
Illustre"; La Vie Illustree; Madame et Monsieur, Patria (military); Gazette 
des Beaux- Arts; Revue de VArt Ancien et Moderne; Musica; Armee et Marine; 
Le Plaisir; Je sals tout (monthly); Fcmina: La Vie Heureuse; Le Tour de 
France (every two months); Fermes et Chateaux; La Revue du Foyer-Franrais; 
Le Journal Amusant ; La Vie Parisienne; Le Charivari; Le Rire; Le Sourire. 

English, German, and other foreign journals are sold in the 
kiosques near the Grand-Hotel and in some others on the principal 
boulevards. — The Daily Mail, Continental Edition (15 c), published 
daily including Sundays (office, Rue du Sentier 34), contains an 
excellent summary of political and commercial news, the latest in- 
formation from England (private wire from London), the United 
States, and the whole of the Continent, and a list of the principal 
sights and amusements of Paris. — The European edition of the 
Neio York Herald (office, Avenue de TOpe'ra 49) is a daily paper of 
a similar kind (price 15 c, Sun. 25 c). — The American Register 
(office, Place de TOpe'ra 8) , -with lists of American travellers in 
Europe and general news (10 c), is published every Saturday. 



Strangers desiring to learn French or other languages will find ample 
facilities at the Berlitz School of Languages , Avenue de TOpera 27, and at 
the Institut Rudy, Avenue d'Antin 53, where a course of three lessons per 
week costs 10-15 fir. a month. Private lessons are also given. The Institut 
Polyglotte, Rue de la G-range-Bateliere 16, is a similar establishment. The 
addresses of private teachers may be obtained from Galignani and the other 
booksellers. — The Franco- English Guild, Rue de la Sorbonne 6, for women, 
supplies information regarding the conditions of study at the S^prbonne, 
the art-schools, and studios; the examinations held by the University of 
Paris; special branches of study; etc. The annual inscription fee, including 
use of dining-room and reading-room, is 10 fr. ; course of ten lessons in 
French 30 fr.; full course of ten months 225 fr. — Girls who wish to com- 



Information. 13. PHYSICIANS. 55 

bine the comforts of an American home with excellent opportunities for 
the study of French, history, and art will find these at the 'Study Home 1 
of Mrs. Edward Ferris, 97 Boulevard Arago. 

The University Hall, Boulevard St. Michel 95 and 109, is a home and 
club for students, somewhat on the lines of the University Settlements of 
Great Britain and America (apply to the secretary, see p. 13)- — The Ruslcin 
House, Rue Jacob 21 (directress, Miss F. White), is a similar institution 
(international) for women students. 

13. Physicians. Dentists. Nursing Homes. Hospitals. 

Physicians. Should the traveller require medical advice during 
his stay in Paris, he should obtain from his landlord the name of 
one of the most eminent practitioners in the neighbourhood of his 
hotel or lodgings. Information may be obtained also at the English 
and other chemists' shops (p. 49), or at QalignanVs (p. 53). The 
l Bottin\ or Directory, may also be consulted with advantage (to be 
seen at any cafe). Usual fee from 10 to 20 fr. or more per visit or con^ 
sultation. In cases of emergency at night the address of a practitioner 
on night-duty can be obtained at a police-station (poste de police). 
The following British and American physicians may be m entioned : — 

Dr. Anderson, Avenue des Champs-Elyse'es 121; Dr. Austin, 
Hue Chalgrin 20 ; Dr. Barlee (homoeopath), Rue Washington 3 ; 
Dr. De Chanaud, Rue d'Aguesseau 12; Dr. Deering, Rue Godot-de- 
Mauroy 30 ; Dr. Dupuy, Avenue Montaigne 53 ; Dr. Gros, Rue de 
Ponthieu 28; Dr. D'Hotman de Villiers, Rue de Marignan 27; Dr. 
Jarvis, Boul. Malesherbes 11; Dr. Oscar Jennings, Le Vesinet; Dr. 
Koenig, Rue de Miromesnil 65 ; Dr. Magnin, Boul. Haussmann 121 ; 
Dr. Merrier, Avenue MacMahon 15; Dr. Pike, Rue de Lubeck 31 ; 
Dr. Riviere, Rue des Mathurins 25; Dr. Leonard Robinson, Rue 
d'Aguesseau 1; Dr. Tuclcer, Rue St. Florentin 4; Dr. Turner, Rue 
Lincoln 5 ; Dr. Warden, Rue Chalgrin 9; Dr. Whitman, Rue de 
Lubeck 20. 

Oculists : Dr. Landolt, Rue Volney 4; Dr. de Lapersonne, Boul. 
Malesherbes 90; Dr. Kalt, Boul. Malesherbes 50; Dr. Bull (Amer.), 
Rue de la Paix 4; Dr. Sulzer, Rue de Tocqueville 22. 

Dentists: I. B. fy W. 8. Davenport, Avenue de l'Opera 30; 
J. Evans, Rue de Rivoli 248; T. W. Evans, Rue St. Augustin 22; 
Dr. Levett, Boul. de Rochechouart 86; Dr.Spaulding, Boul. Males- 
herbes 39; Waller, Rue Auber 16; American Dental Association 
(Dr. Harry-Berhard, Rue Clement Marot 5), Rue Notre-Dame-de- 
Lorette 33; Dr. P. R. Chance, Place Yendome 16; Jordan, Rue 
Cambon 26; Didsbury , Rue Meyerbeer 3; Barrett, Avenue de 
l'Opera 17; Daboll, Avenue de l'Ope'ra 14; Duchesne, Rue du Fau- 
bourg-Montmartre 53; Dugit, Rue du Vingt-Neuf-Juillet 6; Rossi- 
Hartwick, Rue St. Honore 185; Ryan, Rue Scribe 19; Rykert, Boul. 
Haussmann 35 ; Weber, Rue Molitor 29. 

Nursing Homes (Maisons de Sante). In case of a serious or 
tedious illness, the patient cannot do better than take up his quartern 



56 13. HOSPITALS. Preliminary 

at one of the regular sanatory establishments. There are many 
well-conducted houses of the kind in Paris and the environs. 

The following: may be recommended : — Maison Municipale de Sante", 
Rue du Faubourg-St-Denis 200 (terms 5-12 fr. per day, everything included); 
Maison des Hospitallers de St. Jean-de-Dieu, Rue Oudinot 19 (10-12 fr.); Maison 
des Religieuses Augustines de Meaux, Rue Oudinot 16 (for women ; 300 500 fr. 
per month); Etablissemen f s Hydrothirapiques d' 'Auteuil, Rue Boileau 12 and 
Rue de Miromesnil 63-, Maison Rivet, at St. Mande, Grande Rue 106, Maison 
des Diaconesses Protestantes, Rue deReuilly 95, these two for women. Mention 
may be made also of the Protestant Hospice Suisse (for men; apply at the 
Swiss Embassy, Rue de Mari»nan 15 bis ), and the HSpital-Hospice de Rothschild, 
Rue Picpus 72-85 (for Jews). — Sick Nurses may be obtained at the 
Hollond Institution for English Hospital-trained Nurses, Rue d'Amsterdam 25, 
the American Graduate Nurses, Rue Freycinet 6, and at the Nursing Institu- 
tion, Boul. Haussmann 190. 

Hospitals. The *Hertpord British Hospital , or Hospice 
Wallace (PI. B, 8), is a large Gothic edifice in the Rue de Yilliers, 
at Levallois-Perret , near Neuilly , built and endowed by the late 
Sir Richard Wallace. It has accommodation for between thirty and 
forty patients, and is surrounded by a large garden. 

The following are the principal Hospitals of the 'Assistance Publique 1 
(comp. the List of Streets, etc., in the Appendix). Andral, Beaujon, Bichat, 
Boucicaut, Broca (p. 337), Broussais, de la Chariti, Cochin and Cochin-Annexe 
(formerly Ricord, p. 331), des Enfants- Malades, H6tel-Dieu (p. 265), La'ennec 
(p. 301), Lariboisiere (p. 210), Necker, de la PitU (p 329), St. Antoine (p. 252), 
St. Louis (p. 240), Tenon (p. 250"), de la Salpetriere (p. 329), Trousseau (p. 253), etc. 
Visiting days, Thurs. and Sun. 1-3. 

The Institut Pasteur, for the treatment of hydrophobia, is at Rue Dutot 
25 (PI. G, 13), see p. 335. Hdpital Pasteur, Rue de Vaugirard 205. 



14. Divine Service. 

English Churches. For the latest information , visitors are 
recommended to consult the Saturday number of The Daily Mail 
or New York Herald (p. 54). 

Episcopal Church: — English Church (PI. R, 15; IV), Rue 
d'Aguesseau 5, Faubourg St. Honore, opposite the British Embassy; 
services at 10.30, 3.30, and 8; chaplain, Rev. G. A. Ormsby,D.D. — 
Christ Church (PI. B,5), Boul. Bineau49, Neuilly; services at 10.30 
and 4; chaplain, Rev. H. T. R. Briggs. — St. George's Church 
(PI. R, 12; 2), Rue Auguste-Vacquerie 7 (Av. d'lena) ; services at 
10.30 and 6; chaplain, Rev. F. Anstruther Cazdew. — Church of 
the Holy Trinity (Amer. ; PI. R, 12, i), Avenue de l'Alma 19bis. 
services at 10.30 and 5; rector, Rev. J. B. Morgan, D. D. — St. Luke's 
Church (Amer.), Rue de la Gran de-Chaumi ere 5, near the Boulevard 
Montparnasse; services at 10.30 and 8; Rev. I. Van "Winkle. — 
H.C. at all these at 8.30 a.m., also at 11 a.m. every second Sun. at 
Holy Trinity (choral), and at noon in the English Church and at 
St. George's (choral). 

English Congregational Chapel, Rue Royale 23 (PI. R. 18 ; II), 
at 10.45 a.m.; minister, Rev. S. H. Anderson. Also at the Taitbout 
Chapel, Rue de Provence 42, at 2.30 p.m. 



Information. 14. DIVINE SERVICE. 57 

St. Joseph's Roman Catholic Church, Avenue Hoche 50, 
mass on Sundays at 6, 7, 8, 9, 10, and 11.30; sermons at 10 and 
3.15. Confessions heard daily, 6-9. 

American Presbyterian Church (PL B, 12 ; 7), Rue deBerri 
21; services at 11 and 3; minister, Rev. Chauncey W. Goodrich. 

Church of Scotland (PI. R, 15; 77), Rue Bayard 17, Champs- 
Elysees; services at 10.30 and 8; minister, Rev. G. H. Cattanach. 

Wesleyan Methodist Church (PI. B, 15; II), Rue Roque"- 
pine 4, Boulevard Malesherbes; services at 10.45 and 8; minister, 
Rev. J. W. Lightly. 

Baptist Church : Avenue du Maine 123 ; French service at 
2 p.m. — New Baptist Church, Rue Meslay 61 , near the Porte 
St. Martin, services at 2 and 8 p.m.; pastor, Rev. Rubens Saillens. 

New Jerusalem Church, RueThouin 12 (near the Pantheon); 
English service on the second Sun. of every month at 4 p.m. 

First Church of Christ Scientist, Washington Palace, Rue 
Magellan 14; services on Sun. 11 a.m.; "Wed. 8 p.m. 

French Protestant Churches (Temples Protestants). The popu- 
lation of Paris is almost entirely Roman Catholic. The depart- 
ment of the Seine numbers only about 60,000 Protestants and 
25,000 Jews. 

Calvinist: L'Oratoire (PL R, 20, II; p. 90), Rue St. Honore 
145 ; service at 10.15. — Ste. Marie (PL R. 25 ; V; p. 180), Rue St. 
Antoine216; service at 10. 15, in winter at noon. — Temple deVEtoile, 
Av. de la Grande-Armee 54 (10 and 4). — Temple des Batignolles, 
Boul. des Batignolles 46 (10.15 and 4). — Eglise de Pentemont 
(p. 301), Rue de Grenelle 106 (PL R, 17, IV; 10.15 and 4). — 
Eglise du St. Esprit, Rue Roquepine 5 (PL B. 15, 77; 10.15 and 1). 
— Temple Milton, Rue Milton 5, coiner of the Rue Hippolyte-Lebas 
(P1.B,21). — Temple de Passy (P1.R,8), Rue Cortambert 19 (Tro- 
cadero ; 10.15). — Temple de Neuilly, Boul. d'Inkermann 8 (10.15). 

Lutheran: Eglise des Billettes (PL R, 23, V; p. 185), Rue des 
Archives 24; service at 10.15 in French, at 2 in German. — Eglise 
de la Redemption (PL B, 21; 77, 772), Rue Chauchat 16; service 
at 10.15. — Eglise de St. Marcel, Rue Thouin 10Ws (pi. G. 22, V; 
10.15). — Eglise de la Resurrection (PL G, 10), Rue Quinault 8 
(10 a. m.). — Eglisedu Gros-Caillou, Rue AmeTiel9 (PL R, 14; 77), 
near the Hotel deslnvalides (10.15). — Swedish Church, Boulevard 
Ornano 19 (2.30). 

Free (Libres) : Chap elleTaitb out, Rue de Provence 42 (PL B. 18; 
77, 7Z7), service at 10.15 a.m. — Chapelle du Nord (PL B, 24), 
Rue des Petits-Hotels 17 (10.15). — Chapelle du Luxembourg, Rue 
Madame 58 (PL R, 16, VI; 10.30 a.m. and 8p.m.). — Chapelle du 
Centre, Rue du Temple 115 (10.30). — Eglise Baptiste, Rue de 
Lille 48 (2.15). 

Greek Church. — Eglise Russe, Rue Daru (p. 222; 11 a.m.). — 
St. Stephane, Rue Georges-Bizet 7. 



58 15. EMBASSIES. Preliminary 

Synagogues: Rue Cadet 10 (PI. B, 21 ; III)- Rue Notre-Dame- 
de-Nazareth 15(P1. R, 24; 111) ; Rue de la Victoire44 (PI. B, 21, U ; 
p. 211); Rue des Tournelles 21 (PL R, 26; V); Rue Vauquelin 9 
(PI. G, 191; Rue Buffault 30 (PI. B, 21; Portuguese). 

Missions. For those interested in home mission work the following 
notes may he of service. The M c All Mission has now hetween 30 and 
40 stations, of which the most important are at Rue Royale 23, Bonl. 
Bonne-Nouvelle 8, and Rue St. Antoine 104; meetings every week-day at 
8 p.m. Sunday meetings at 4.30 p.m. at Rue Royale 23 and at 8.16 p.m. 
at Rue du Fauhourg-St-Antoine 142 and Rue Nationale 157. The offices 
of the mission are at Rue Godot-de-Mauroi 36; chairman and director, Rev. 
Chas. E. Greig, D. T). — Anglo-American Young Men's Christian Association, 
Rue Montmartre 160 (4.45 p.m.). — Christian Endeavour Society, Rue de 
Sevres 72 (Sun. 4 p.m.). — The Girls' 1 Friendly Society, Avenue <TIe'na 50, 
affords cheap lodgings. — SociiU Centrale de la Mission Inttrieure : agent, 
Pastor J. P/ender, Rue Lahruyere 46. 

15. Embassies and Consulates. Ministerial Offices. Banks. 
Embassies and Consulates. — Great Britain : Ambassador, 
Rt. Hon. Sir Francis L. Bertie, Rue du Faubourg- St -Honor 6 39. 

— Consul General, Albemarle Percy Inglis, Esq., Rue d'Aguesseau 
7 (11-3) ; vice-consul, G. F. Atlee, Esq. 

United States : Ambassador, Hon. Henry S. White, Avenue 
Kleber IS (11-3). — Consul General, Frank H. Mason, Avenue de 
l'Opera36; vice-consul general, Dean B. Mason; deputy-consul 
general, H. C. Coxe. 

Ministerial Offices. The days and hours of admission are fre- 
quently changed. Consult the 'Bottin' (p. 55). 

Affaires Etrangeres, Quai d'Orsay 37 and Rue de l'Universite 130 
(PI. R, 14, II- p. 300). — Agriculture, Rue de Varenne 78 (PI. R, 14, 
IV; p. 301). — Colonies, at present in the Pavilion de Flore, Tuile- 
ries (PI. R, 17, II; p. 69), shortly to be transferred to the former 
Institut des Freres in the Rue Oudinot (PI. R, 13; IV). — Com- 
merce et Industrie, Rue deYarenne 80 (Pl.R, 14; IV). — Finances, 
at the Louvre, Pav. de Rohan (PI. R. 20, II; p. 90). — Guerre, Boul. 
St. Germain 231 and Rue St. Dominique 10-14 (PI. R. 17, II, IV; 
p. 300). — Instruction Publique, Beaux-Arts et Cultes, Rue de 
Grenelle 110 (PI. R, 17; IV) and Rue de Valois 3 (Beaux-Arts). 

— Interieur, Rue Cambaceres 11-13, and Rue des Saussaies 11 
(PI. R, 15; II). — Justice, Place Vendome 13 (PI. R, 18; 72). — 
Marine, Rue Royale 2 (PI. R, 18, II; p. 67). — Travail et Hygiene, 
Rue de Bellechasse 66 (PI. R. 17; II). — Travaux Publics, Postes 
et Telegraphes, Boul. St. Germain 244 (Pl.R, 17, IV; p. 300); 
Sous-Secretariat des Postes et Telegraphes, Rue de Grenelle 99 
and 103. 

Banks. Banque de France, Rue de la Vrilliere 1 and Rue Croix 
des Petits-Champs 39 (PI. R, 21, II; seep. 89), and Place Ven- 
tadour (PI. R, 21 ; annexe for bonds) ; Credit Fonder de France 
(PI. R, 18; II), Rue des Capucines 19 ; Credit Lyonnais (PL R, 21, 



Information. 16. DISTRIBUTION OF TIME. 59 

II ; p. 81), Boul. des Italiens 17-21 ; Societe Generate, Rue de Pro- 
vence 54-56 (PL B, 18; II, HI); Comptoir National d'Escompte 
(PL B, 21, III- p. 83), Rue Bergere 14; Rothschild Freres, Rue 
Laffitte 21-25 (PL B, R, 21 ; //, III); Banque Franco- Americaine, 
Place Vendome 22. — English and American Banxbrs: Munroe 
fy Co., Rue Scribe 7 ; Morgan, Harjes, fy Co., Boul. Haussmann 31 ; 
E. Boyd Neel $ Co., Rue Daunou 21. 

Monet Changers (changeurs) are found in almost every part of Paris, 
particularly in the Palais-Koyal, near the Exchange, the Boulevards, the 
Rue Vivienne, and the other streets frequented by strangers. That at the 
Cridil Lyonnais (see above) may be recommended. 

Stamps. Receipts for sums above 10 fr., as well as various commer- 
cial documents, must be stamped. Receipt-stamps are sold at the post- 
offices and by many tobacconists. 

16. Distribution of Time. 

At least a fortnight is required to obtain even a superficial idea 
of Paris and its environs. The visitor should begin by taking a 
preliminary drive (p. 60) or walk from the Place de la Concorde 
(p. 65) up the Champs -Elysees (p. 71; view from tbe Arc de 
Triomphe, p. 76), and along the Boulevards (p. 77), through the 
"W. central quarter of the city (p. 86). He should supplement this 
by a steamboat-trip on the Seine, disembarking at the Quai de 
LHotel-de-Ville (p. 175) in order to visit Notre Dame (p. 265; view 
from the tower, p. 267). The most important art-collections are at the 
Louvre (p. 92), to which several days should be devoted ; the Luxem- 
bourg (p. 315 ; modern French art); the Hotel de Cluny (p. 271; in- 
dustrial arts of the mediaeval and Renaissance periods) ; the Musee 
Carnavalet (p. 187; historical survey of the city of Paris) ; the Biblio- 
theque Nationale (p. 201; rare bindings, medals, cameos, and small 
antiques) ; and the Hotel des Invalides (p. 303 ; military museum). 
Other interesting buildings are the Archives Nationales (p. 183), the 
Hotel de Ville (p. 175), the Halles Centrales (markets; p. 194), the 
Bourse (p. 208), the Mint fp. 291), the Pantheon (p. 283), the Sainte 
Chapelle (p. 262), the Dome of the Invalides (p. 310), and the 
churches of the Madeleine (p. 77), St. Germain-V ' Auxerrois (p. 91), 
St. Eustache (p. 195), St. Vincent- de- Paul (p. 210), St. Germain-des- 
Pres (p. 295), St. Sulpice (p. 296), and St. Etienne-du-Mont (p. 286). 
— An early start should be made in order that time may be spared 
for objects of interest en route. The late afternoon should be devoted 
to the Bois de Boulogne (p. 236), the Pere-Lachaise (p. 242), the 
Buttes-Chaumont (p. 240), and other parks (p. 64), or to watching 
the busy life of the boulevards (p. 78). 

Paris is pre-eminently the city of fine Vistas. The wonderful 
prospects which the eye commands from in front of the statue of 
'Quand Meme', near the Arc de Triomphe du Carrousel (p. 70); 
from the Quai des Tuileries, to the left of the Pont de la Concorde 
(p. 67) ; or from the Quai de la Conference, to the left of the Pont 



60 16. DISTRIBUTION OF TIME. Preliminary 

Alexandre-Trois (p. 224) create impressions -which can never he 
forgotten. 

The Views enjoyed from certain elevated points are no less 
beautiful; e.g. from the top of the Arc de Triomphe de I'Etoile 
(p. 76), the towers of Notre - Dame (p. 267), the hasilica of the 
Sacre-Coeur de Montmartre (p. 214), the Tour Eiffel (p. 313), the 
Tour St. Jacques (p. 173), the Buttes-Chaumont (p. 240), etc., and 
from the terrace of the park at St. Cloud (p. 347); or lastly from 
the terrace of St. Germain-en-Laye (p. 379), whence, however, the 
view of Paris itself is restricted. 

Of places in the Environs Versailles (p. 349) and Chantilly 
(p. 397) stand first in interest; the former for its park and palace of 
Louis XIV (now a historical museum), the latter as a modern princely 
residence, also with a park, and containing the Musee Conde. The 
Royal Tombs at St. Denis (p. 383) convey only a fleeting impression, 
so swiftly is the visitor hurried through. The same remark applies to 
the palace of Fontainebleau (p. 421), with its admirable Renaissance 
interior. The forest of Fontainebleau deserves a whole day to itself. 

The following Preliminary Drive will occupy 2 1 /2-3 hrs. and 
cost 6-10 fr. in a cab hired by the hour (see Appx., p. 47). From 
the Place de la Concorde (p. 65), through the Rue de Rivoli (p. 90) 
to the E., passing the Louvre (p. 92) and the Hotel deVille(p. 175) ; 
then through the Rue St. Antoine as far as the Place de la Bastille 
(p. 180) , returning along the Grands Boulevards (pp. 78 et seq.) 
and past the Madeleine (p. 77) to the Place de la Concorde. We 
next ascend the Champs-Elyse'es (p. 71) to the Arc de Triomphe 
de l'Etoile (p. 75 ; view). Thence we drive via the Pont de l'Alma 
(p. 225), to the Champ-de-Mars (p. 3121, the Hotel des Invalides 
(p. 303), and the Panthe'on (p. 283). Then down the Boulevard 
St. Michel (p. 269), passing the Sorbonne (p. 280) and the Hotel de 
Cluny (p. 271) on the right; across the Pont St. Michel (p. 269) 
into the 'Cite', where Notre-Dame (p. 265) is observed on the right. 
We regain the right bank of the Seine by the Pont d'Arcole (p. 175), 
at the Place de THotel-de-Ville (p. 175). We may conclude our 
excursion with a steamboat-trip on the Seine (see Appx., p. 48). 

A good idea of Paris may be obtained also by taking the follow- 
ing round on the tops of omnibuses and tramway-cars (Sun. should 
be avoided), which would cost only l'-ll/g fr. but would take 
twice as long as the drive by cab. We first take the Madeleine- 
^Bastille omnibus (line E; without correspondance; 15 c.) along 
the Boulevards to the Place de la Bastille (p. 180); thence we take 
the Louvre-Vincennes tramway (TC; 15 c.) as far as the Hotel de 
Ville (p. 175), whence the Hotel de Ville-Porte de Neuilly motor- 
omnibus (C; 15 c.) conveys us to the Place de VEtoile (p. 75 ; ascent 
of the Arc de Triomphe ; view). Returning by the same route to 
the Place de la Concorde, we thence take the Courcelles-Pantheon 
line(vl.F), without correspondance, to the Panthe'on (p. 283). Thence 



Information. 16. DISTRIBUTION OF TIME. 61 

we walk by the Rue Soufflot and across the Bool. St. Michel to the 
Luxembourg Garden (p. 323), pass through it to the Place de l'Odeon 
(p. 325), and thence take the Odeon - Batignolles - Clichy omnibus 
(Line H) to the Cour du Louvre (Place du Carrousel, p. 70). Finally 
we may go by Steamboat (p. 30) either up the Seine to the Pont 
d'Austerlitz (p. 327) or down to the Pont d'Auteuil (p. 234). 

Hurried visitors may make a rapid tour of the outer boulevards by 
means of the Metropolitain (Lines 2 N and 2 S), alighting at the principal 
stations (see Appx. pp. '60, 31). 

Distribution of Time. The following diary, which is planned 
for a stay of three weeks, will aid the visitor in regulating his move- 
ments and economising his time. He must however, carefully, note 
the days and hours at which the different collections and objects 
of interest are accessible to the public (see the table, pp. 62,63), and 
must make free use of cabs (p. 27) or the Me'tropolitain (p. 30). 
The shorter his stay, the more he should confine himself to the 
principal sights. 

1st Day. Preliminary drive (see p. 60), combined with a visit 
to Notre-Dame (p. 265 ; not on Sun.). Afternoon: Bois de Boulogne 
(p. 236) and Jardin d Acclimatation (p. 238).. 

2nd Day. Louvre (p. 92) ; Jardin des Tuileries (p. 67). After- 
noon: St. Cloud (p. 346) and Sevres (p. 344). 

3rd Day. Palais de Justice and Ste. Chapelle (pp. 261, 262). After- 
noon: Musee de Cluny (p. 272); St. Louis-en-V lie (p. 268). 

4th Day. Muiee du Luxembourg (p. 315) ; Ecole des Beaux- Arts 
(p. 291; best on Sun.) or the Mint (p. 291; Tues & Frid. 1-3); 
St. Germain-des-Pres (p. 295); St. Sulpice (p. 296). 

5th Day. Palais-Royal (p. 88); Halles Centrales (p. 194) and 
St. Eustache (p. 195); Place de la Republique (p. 84); Pere-Lachaise 
Cemetery (p. 242). 

6th Day. Louvre (2nd visit; p. 92); Madeleine (p. 77); Place 
and Colonne Vendome (p. 86). Afternoon : Jardin des Plantes 
(p. 326) and the Gobelins (p. 332; Wed. & Sat. 1-3). 

7th Day. Place des Vosges and House of Victor Hugo (pp. 191, 
192) ; Musee Carnavalet (p. 187); old houses in the Rue des Francs- 
Bourgeois (pp. 185,186). Archives Nationales($. 183; Sun. &Thurs. 
12-3); Quartier du Temple (p. 200). 

8th Day. Chamber of Deputies (p. 299) ; Hotel des Jnvalides 
(p. 303): Muse'e de l'Arme'e (p. 303; Sun., Tues., &Thurs.); Tomb 
of Napoleon (p. 310); Eiffel Tower (n. 313). 

9th Day. Bibliotheque Nationale (p. 201) ; Bourse (p. 208); Notre- 
Dame- de-Lorette (p. 211); Musee Gustave Moreau (p. 211); Church 
of La Trinite (p. 212) ; St. Augustin($. 221) ; Pare Monceau (p. 222). 

10th Day. Versailles (p. 349). - 

11th Day. Musee du Luxembourg (2nd visit; p. 315), the garden 
(p. 323), and palace (p. 314). Pantheon (p. 283); St. Etienne-du- 
Mont (p. 286). 



62 



16. DISTRIBUTION OF TIME. Preliminary 



Sun. and 
holidays 



Monday- 



Tuesday 



Archives Nationales (p. 183) 

Arts Ddcoratifs (p. 170) ...... 

Arts dt Metiers, Gonser- J In summer 
vatoire des (p. 197) \ In winter . 

Beaux- Arts, Ecole des (p. 291) . . . 
Bibliotheque Rationale, Exhib. (p. 202) 

Chambre des Dispute's (p. 299) . . . . 
Chantilhj, Ghdteau de (p. 398) . . . 

Fonlainebleau, Palais (p. 422) .... 

Gobelins, Manuf. des (p. 332) .... 

H6tel de Ville (saloons; p. 176) . . . 

Imprimerie Nationale (p. 186) . . . 
Invalides, Hdtel des (p. 303). . . . . 

— Mus&e de V Annie J In summer. 
(p. 303) t In winter . 

— Tomb of Napoleon I. (p. 310) . . 

Jardin des Plantes, Minagerie (p. 326) 
, Serres (p. 326) 

— — , Natural History Collections 
(p. 328) 

Monnaie, Muse"e & Workshops (p. 291) 

Musie Gamavalet (p. 187) 

— - Gernuschi (p. 221) 

— de Gluny (p. 272) 

— du Conserv. de Musique (p. 83). . 

— Dutuit (et de la Ville de Paris), at 
the Petit Palais (p. 71) 

— GalMra (p. 228) \ 

— Guimet (p. 227) J 

— Gustave-Moreau (p. 211) 

— du Louvre (p. 92) 1 T 

— du Luxembourg J n s™er 
(p. 315) / In Wlnter • 

— de Mine"r. et Giolog. (p. 325) . . 

Notre-Dame, Treasury (p. 267) . . . 

Palais de Justice (p. 261) 

Panthion (p. 283) 

St. Denis, Tombs (p. 380) 

St. Germain, Museum (p. 376) . . . 

Ste. Ghapelle (p. 262) 

Sevres, Musie (p. 345) 

Trocad&ro, Musie Ethnogr. (p. 232) . 
— , Casts and Mus&e Cambodgien 
(p. 231) 

Versailles, Palais (p. 351) 

Victor Hugo, House of (p. 192) . . . 



12-3 

10-4, 5 
10-4 
10-4 

12-4 



9-5 
1-5 



10-5 



2-4 



12-4, 5 

1-5 

12-4 

12-4, 5 

11-4, 6 



11-4 



10-4, 5 

10-4, 5 

11-4 



10-4, 5 

10-4, 5 

104 

10-4 
10-4 



10-4, 5 

11-5.30 
10.30-4 
11-4, 5 
12-4, 5 

12-4, 5 

11-4, 5 • 

11-4, 5 
10-4, 5 



12-4, 5 

10-4 
9-5 

10-5 

2-4 

12-4, 5 

12-4, 5 
11-4, 5 



12-4 



10.30-4, 5 
11-4, 5 

10-5.30 

12-4, 5 
10-12 



10-4, 5 
12-4 
12-3 



9-5 
10-5 



2-4 



12-4, 5 

1-5 

12-4 

12-4, 5 

11-4, 5 
1-4, 5 

11-4 f 

1-3 

10-4, 5 
10-4, 5 
11-4, 5 



10-4, 5 
10-4, 5 
10-4 

9-5 

10-4 

1-4 

10.30-4, 5 

11-4, 5 
10-4, 5 

10-5.30 
11.30-5 
11-4, 5 
12-4, 5 

12 4, 5 

11-4, 5 

11-4, 5 
10-4, 5 



Information. 


16. DISTRIBUTION OF TIME. 63 


Thursday 


Friday 


Saturday 


Admission free except where 
otherwise stated. 


12-3 

10-4, 5 

10-4 

12-3 


10-4, 5 


10-4, 5 
12-4 
12-3 


Adm. 1 fr., Sun. free. 


10-4 








Comp. p. 292. 

Hours for students, see p. 202. 


9-5 
1-5 

10-5 


9-5 
10-5 


9-5 
1-5 1 

10-5 


During the vacation. Fee. 

From 15th April to 14th October. Closed 

during the races, f Adm. 1 fr. 
11-4 in winter (Oct. 1st -March 31st). 


— 


— 


1-3 




2-4 


2-4 


2-4 


By ticket issued gratis. 


2.30 
12-4, 5 

1-5 

12-4 
12-4, 5 


12-4, 5 


12-4, 5 


By permission of the director. 


12-4, 5 


- 




11-4, 5 


11-4, 5 
1-4, 5 


11-4, 5 
1-4, 5 


Botanic Garden open all day. 
By ticket obtained at the office. 


11-4 


11-4 -h 


11-4 f 


f By ticket obtained at the office. 


10-4, 5 

10-4, 5 

11-4, 5 

12-4 


1-3 
10-4, 5 
10-4, 5 
11-4, 5 


10-4, 5 
10 4, 5 
11-4, 5 


Workshops only by permission of the director. 


10-4, 5 


10-4, 5 


10-4, 5 




10-4, 5 


10-4, 5 


10-4, 5 




10-4 


10-4 


10-4 




1-5 

1-4 

1-4 


9-5 
10-4 


9-5 
10-4 

1-4 


The collections of paintings and antique 
sculptures at the Louvre are open at 
these hours; the other collections at 11, 
12.30, or 1 (see p. 94), none before 1 on 


i 10.30-4, 5 


10.30-4, 5 


10.30-4, 5 


Thursdays. 


11-4, 5 
10-4, 5 


11-4, 5 
10-4, 5 


11-4, 5 
10-4, 5 




10-5.30 
11.30-5 
11-4, 5 
12-4, 5 


10-5.30 

11-4, 5 
12-4, 5 


10-5.30 

11-4, 5 
12-4, 5 


Till dusk in winter. 

In winter 11.30-4 on Tues. & Thursday. 

Permission to visit workshops, see p. 345. 


12-4, 5 
11-4, 5 


10-12 
11-4, 5 


11-4, 5 


Special permission required on Mon., Wed., 
& Friday. 


12-4, 5 
10-4, 5 


11-4, 5 
10-4, 5 


11-4, 5 
10-4, 5 


Trianons (p. 369) till 6 p.m. in summer. 



64 16. DISTRIBUTION OF TIME. 

12th Day. Conservatoire des Arts et Metiers (p. 197) ; Boulevard 
de Strasbourg (p. 208"); St. Vincent- de-Paul (p. 210); Pare des 
Buttes-Chaumont (p. 240). 

13th Day. Chantilly (p. 397). 

14th Day. St. Denis (p. 380). Afternoon : Enghien (p. 387) and 
Montmorency (p. 388). 

15th Day. St. Germain-en-Laye (p. 375). 

16th Day. From the Place de la Concorde to the Trocadero 
(p. 224 et seq.y, Petit-Palais (Dutuit Collection, p. 73); Musees du 
Trocadero (p. 231), Guimet (p. 227). and Galliera (p. 226). 

17th Day. Louvre (3rd visit; p. 92); Hotel de Ville (p. 175; 
2-4 p.m.). Afternoon: Montmartre, Sacre-Coeur (p. 214) and Cem- 
etery (p. 216). 

18th Day. Re-visit the Musee Carnavalet (p. 187) or the Musee 
de Cluny (p. 272) ; Vincennes (p. 253 ; hest on Sun. and holidays). 

19th Day. Fontainebleau (p. 421). 

A day or two's rest at intervals will add to the enjoyment. 



Hours of Admission. The table at pp. 62, 63 shows when the 
different collections and objects of interest aTe open to visitors. The 
days and hours enumerated, though correct at present, are liable to 
alteration ; and the traveller is therefore referred to The Daily 
Mail (p. 54) and to the principal French newspapers. The museums 
and collections are apt to be uncomfortably crowded on Sundays and 
holidays. 

Most of the public collections and museums are closed on Monday, 
and also on the principal holidays, viz. Ascension Day, July 14th, 
Assumption (Aug. 15th), and All Saints (Nov. 1st), unless these 
happen to fall on a Sunday. The Louvre, Luxembourg, and some 
others are closed also on Shrove Tuesday. 

Churches may be best inspected in the afternoons of week-days, 
as no service is then held. The Madeleine (p. 77) is not open to 
visitors till 1 p.m. , and several other churches are closed at 5 or 
6 p.m. Sundays and festivals afford an opportunity of witnessing 
the religious ceremonies and frequently of hearing excellent music 
(see p. 44). High mass is usually at 10 a.m. The masses at midday 
and 1 p.m. are especially attended by the fashionable world; and 
the scene on the conclusion of service at the Madeleine (p. 77) 
and other leading churches is both interesting and characteristic. 
Chairs within the churches are let for 5 c. each; on festivals 10 c. 

Parks and Public Gardens are usually open until 6 p.m. in 
winter, and until 10 or 11 at other seasons. The hour of closing is 
announced by a crier or (in cemeteries) by a drum or bell. 



EIGHT BANK OF THE SEINE. 



The modern business and fashion of Paris are chiefly confined 
to the quarters on the right bank of the Seine, which contain the 
principal Boulevards, the handsomest streets and squares, the most 
luxurious hotels, cafes, and restaurants, the best theatres, and the 
most attractive shops. Here, too, are situated the Louvre, with its 
magnificent treasures of art, the Champs-Elysees, the Hotel de Ville, 
the Trocadero, the Opera House, the Palais-Royal, the Bibliothe que 
Nationale, the Archives, the Bourse, the Banque de France and 
other great financial establishments, the Hotel des Postes, the Central 
Markets, the Conservatoire des Arts et Metiers, the Pere-Lachaise, etc, 

1. Place de la Concorde, Jardin des Tuileries, and 
Champs-Elysees. 

Metkopolitain Stations (Line 1$ Appx. p. 29): Place de la Concorde, 
almost opposite the Rue de Mondovi, and Tuileries (p. 67). 

The stranger visiting Paris for the first time, and anxious that 
his first impression of the city should be as striking as possible, 
cannot do better than begin by a walk from the Louvre to the Place 
de la Concorde. On all sides are imposing views ; whether we stand 
on" the Pont de la Concorde and survey the river, or whether, from 
the Tuileries Gardens, with the palace of the old French kings to 
the E., we look N.W. towards the Champs-Elysees, with the long 
vista beyond the Obelisk, terminating in the Arc de Triomphe 5 
while to the S.W. rise the Eiffel Tower and the dome of the Invalides. 

The **Place de la Concorde (PI. R, 15, 18 ; II) +, the centre of the 
fashionable quarters on the W., between the Champs-Elysees (p. 71) 
and the Jardin des Tuileries (p. 67), is one of the most beautiful 
and extensive squares in the world. It received its present form in 
1854 from designs by Hittorff. From the centre of the square a 
view is obtained of the Madeleine (p. 77), the Palais de la Chambre 
des Deputes, the Louvre, and the Arc de Triomphe de l'Etoile. 



+ With regard to the arrangement of our Plan of Paris , see note 
preceding the list of streets. The three sections of the tripartite plan, 
coloured respectively brown, red, and gray, are referred to in the text by 
the corresponding letters B, R, and G. If the place sought for is also 
to be found in one of the five special plans of the more important 
quarters of the city, that plan is indicated by a Roman Italic numeral. 
The above reference therefore indicates that the Place de la Concorde 
is to be found in the Red Section, Squares 15 and 18, and also in the 
Special Plan, No. II. 

Baedekek. Paris. 16th Edit. 5 



66 Bight Bank 1. PLACE DE LA CONCORDE. 

In the middle of the 18th cent, the site was still a desert. Louis XV, 
after the Peace of Aix-la-Chapelle (1748 ; see p. xvii), 'gratified' the municipal 
authorities of Paris by permission to erect an equestrian statue to him, and 
Gabriel, the architect, constructed the present pavilions and balustrades. 
The statue, which was executed in bronze from designs by Bouchardon 
(model, see p. 114), was not set up until 1703; and its erection called forth 
some bitter epigrams ( l ll est ici comme a Versailles, il est sans coeur et 
sans entrailles'). The statue of the king was removed in 1792, and the 
Place was named Place de la Revolution. In 1705 the name was changed 
to Place de la Concorde, and after the restoration of the Bourbons, when 
it was proposed to erect an expiatory monument here, it was known suc- 
cessively as Place Louis XV and Place Louis XVI. After 1880 the name 
Place de la Concorde was revived. 

In 1792 the guillotine began its bloody work here and Louis XVI was 
executed in the Place on Jan. 21st, 1793. Amongst later victims were 
Charlotte Corday, Marie Antoinette (16th Oct.), Brissot, chief of theGironde, 
with twenty-one of his adherents, and Philippe Egalite\ Duke of Orleans, 
father of King Louis Philippe. In 1794 He'bert and his partizans, the 
determined opponents of all social rule, mounted the scafibld. The next 
victims were the adherents of Marat and the Orleanists; then Danton 
himself and his party, Camille Desinoulins, and the atheists Chaumette 
and Anacharsis Cloots, and the wives of Camille Desmoulins, He'bert, 
and others, and Madame Elisabeth, sister of Louis XVI. The guillotine was 
removed for a short time. (\.'6ih May to 9'h July 1794) to the Place du 
Trone (p. 253). After it had been brought back Robespierre and his asso- 
ciates, his brother, Dumas, St. Just, and other members of the '■corniti du 
salut public'' met a retributive end here; a few days later the same fate 
overtook 82 members of the Commune, whom Robespierre had employed 
as his tools. Lasource, one of the Girondists, said to his judges: '■Je meurs 
dans tm moment oil le peuple a perdu sa raison; vous, vous mourrez lejour 
oil il la re!rouvera\ Between 21st Jan., 1793, and 3rd May, 1795, upwards 
of 2800 persons perished here by the guillotine. 

The *Obelisk, which rises in the centre of the Place, once stood 
in front of a 'pylon', or gateway, added by Ramses II. (14th cent. B.C.) 
to the great temple at Luxor [Thebes) in Upper Egypt. It was 
presented to Louis Philippe in 1831 by Mohammed Ali , viceroy of 
Egypt. This is a monolith, or single block, of reddish granite or 
syenite from the quarries of Syene (the modern Assuan). It is 76 ft. 
in height and weighs 240 tons. The pedestal of Breton granite is 
18 ft. high, and also consists of a single block, while the steps by 
which it is approached raise the whole 3^4 ft. above the ground. 
The hieroglyphics on the four sides narrate the deeds of Ramses II. 
The representations on the pedestal refer to the embarkation of the 
obelisk in Egypt in 1831 and to its erection in 1836 at Paris, under 
the superintendence of the engineer J. B. Lebas. — Cleopatra's 
Needle in London is 70 ft. in height, and the Obelisk in the Piazza 
di San Giovanni in Laterano at Rome is 104 ft. high. 

Each of the ^Fountains beside the obelisk consists of a round 
basin, 53 ft. in diameter, above which rise two smaller basins, 
surmounted by a spout from which a jet of water rises to a height 
of 28 ft. The fountain on the S. side is dedicated to the Seas, the 
other to the Rivers. 

"Upon lofty pedestals around the Place rise eight stone figures re- 
presenting the chief towns of France : Lille and Strassburg by Pradier, 
Bordeaux and Nantes by Callouet, Rouen and Brest by Cortot, and 



PONT DE LA CONCORDE. Right Bank 1. 67 

Marseilles and Lyons by Petitot. The Strassburg is usually hung 
with crape and mourning garlands, in reference to the lost Alsace. 
Twenty bronzed rostral columns complete the decoration. 

The two imposing edifices of nearly uniform exterior on the N. 
side of the square, separated from each other by the Rue Royale 
(p. 77), were erected in 1762-1770, from Gabriel's plans, for the re- 
ception of ambassadors and other distinguished personages. That to 
the right (No. 2), the former 'garde-meuble' or store-room of the royal 
effects, was restored in 1898-1900 ; it is now occupied by the Ministere 
de la Marine. That to the left (No. 4), once the residence of the 
Marquise de Coislin(1776), is partly occupied by the Cercle de la Rue 
Royale (p. 47). Adjoining it, No. 6, now the Automobile Club (p. 47), 
is the house which formerly belonged to Rouille de l'Estang (1775). 
In the Rue de Rivoli (p. 90), which begins here, on the right, nearly 
opposite the Rue de Mondovi and Rue du Vingt-Neuf-Juillet re- 
spectively, are the 'Place de la Concorde' and 'Tuileries' stations of 
the Metropolitain (p. 30; Appx. p. 29). On the left, at the corner 
of the Rue Castiglione (p. 86), is the Hotel Continental (PL R, 18 ; II), 
which occupies the site of the former Ministere des Finances, de- 
stroyed by the Communards in 1871. A tablet on one of the pillars 
of the railing of the Garden of the Tuileries, nearly opposite this spot, 
records that here was situated the famous riding-school (Manege) 
used as a place of meeting by the Constituent Assembly, the Legis- 
lative Assembly, and the National Convention from 1789 to 1793. 
The Republic was instituted there on Sept. 21st, 1792. Farther to 
the E. is the small Place de Rivoli (p. 87). 

The Pont de la Concorde (PL R, 15, 14; II), which crosses the 
Seine from the Place de la Concorde to the Chambre des Deputes 
(p. 299), was built by Perronet in 1787-90, the material for the 
upper part being furnished by the stones of the Bastille. The piers 
are in the form of half-columns, and were adorned with statues 
(now at Versailles, see p. 353). 

The *View from the bridge is very fine. It includes the Place de la 
Concorde, the Madeleine, and the Chamber of Deputies; then, upstream, 
to the left, the Tuileries Garden, a pavilion of the 'luileries and one of 
the Louvre, the Pont Solfe>ino and the Pont-Royal; to the right, the 
G-are du Quai-d'Orsay, in front of which is the little dome of the Palais 
de la Legion d'Honneur; farther off are the dome of the Institut, the 
towers of Notre Dame, the spire of the Sainte-Chapelle, and the dome 
of the Tribunal de Commerce. Downstream, to the right, appear the 
Palais in the Champs-Elysees (p. 71); then the Pont Alexandre Trois, and 
the towers of the Trocad^ro ; to the left the Ministry of Foreign Affairs and 
the inevitable Eiffel Tower. The dome of the Invalides can be seen only 
from a little below the bridge, to the right of the Chamber of Deputies. 

The entrance to the *Jardin des Tuileries (PL R, 18, 17; II), 
on the E. side of the Place de la Concorde, consists of a gateway 
the pillars of which are decorated with statues of Fame and Mercury 
on winged horses, by Coyzevox. The garden retains the same general 
features as when first laid out by the celebrated landscape-gardener 
Le Notre in the reign of Louis XIV ; but the parts between the 

5* 



68 Right Bank h JARDIN DES TUILERIES. 

Place du Carrousel and the central basin are of later origin. The 
greater part of the Jardin des Tuileries is always open ; hut the 
reserved portion closes between 6 and 11 p.m., according to the season, 
the signal being given by a drum. On each side the garden is enclosed 
by terraces. That on the N. , called the Terrasse des Feuillants, 
derives its name from a monastery of the Feuillant Order (reformed 
Cistercians), dissolved in 1791. In July of the same year it was the 
meeting-place of the club of the moderate party ('Les Feuillants'), 
led by Lameth, Lafayette, etc., in opposition to the more violent 
Jacobins (Manege, see p. 67). The space at the end of this terrace 
is known as the 'Jew de Paume 1 , the game whence it derives its name 
being still played here. The monastery of the Capuchins was situ- 
ated to the W. of the present Rue Castiglione. — On the S. is the 
Terrasse du Bord de VEau, with the Orangerie, near which, on the 
S.E. towards the Seine, is a fine bronze group of a lion and serpent, 
by Barye. 

Not far from the entrance to the garden is an octagonal basin, 
300 yds. in circumference , with a fountain in the centre, where 
children sail small boats. On the W. side are marble statues of the 
four seasons. On the E. side are four groups of river-gods: the 
Rhine and Moselle , by Van Cleve ; the Rhone and Saone, by 
0. Coustou; the Nile, by Bourdic, after an antique in the Vatican, 
and the Tiber by Van Cleve, after an antique in the Louvre (p. 103). 
Farther on, on the left of the main walk, are modern sculptures : 
Despair, by L Captier, Echo by Pezieux, The Good Samaritan, by 
Sicard. 

In the middle of the garden is a grove of fine trees, where a 
military band plays in summer on Sun., Tues., and Thurs. from 4 to 
5 or from 5 to 6 (chair 15 c, arm-chair 20 c). On the N., near the 
Terrasse des Feuillants, are several bronze groups : Hercules sub- 
duing the Hydra, by Bosio; and by the flight of steps opposite the 
Rue Castiglione, two groups of animals, by Cain. — Under the 
trees, on each side of the broad walk, are the Carres d'Atalante or 
Jardin de Robespierre, embellished with marble hemicycles, con- 
structed in 1793 for the accommodation of the council of old men 
who were to preside over the floral games in the month of Germinal 
(21st March to 19th April). The statues of mythological subjects 
here are by 0. Coustou, Lepautre, Theodon, and others. 

To the E. of the grove are well-kept parterres embellished with 
statues and vases, mostly modern. Around the circular basin in the 
centre: Oath of Spartacus, by Barrias; Soldier tilling the ground 
(from Virgil), by Lemaire; Prometheus, by Pradier; Alexander, by 
Dieudonne; Cassandra and Minerva, by A. Millet. — On each side of 
the gate : mythological groups of the end of the 17th cent. ; Pericles, 
by J. B. Defray (1855); Rape of Dejaneira, by Marqueste; Alexander 
Fighting, by Lemaire; Cincinnatus, by Foyatier, etc. In the wide 
cross avenue: next the Seine, Comedy, by J. Roux; Phidias, by 



JARDIN DES TUILERIES. Right Bank 1 . 69 

Pradier; next the Rue de Rivoli, The Mask, by Christophe; Aurora, 
by Magnier (bronze) ; Medea, by Oasq ; Silence, by Legros. — Beyond 
the gate, in the broad walk : Diana and the Nymph of Fontainebleau, 
by E. Leveque. Farther on, to the right: Corybante, by Cugniot; 
New Year's Day, by Beaugeault ; to the left : Bacchante, by Carritr- 
Belleuse; mythological statues, by Coyzevox, Couslou, and Lepautre, 
and animals in bronze by Cain. — The E. portion of the garden 
also contains sculptures: 'Quand-meme', by Mercie (1882), repre- 
senting an Alsatian woman seizing the gun of a dying soldier, sym- 
bolic of the defence of Belfort in the Franco-German war. On each 
side of the broad walk, Ganymede, by Barthelemy; Eve after the 
Fall, by Delaplanche; Flora, by Soldi- Colbert (1903), etc. 

The E. annexe of the garden, beyond the Rue des Tuileries, a 
street constructed in 1878, occupies the site of the Palais des Tuileries, 
which was burned by the Communards in 1871. Its only remains 
are the wings which connected it with the Louvre. That on the 
side next the river, including the Pavilion de Flore, was restored in 
1863-68 and again after the fire of 1871. It is partly occupied by 
the Ministere des Colonies (p. 58). On the side next the quay are 
excellent sculptures by Carpeaux. The right wing, in the Rue de 
Rivoli, with the Pavilion de Marsan , was rebuilt in 1875-78, and 
since 1903 has accommodated the Musee des Arts Dccoratifs (p. 170). 

The Palais des Tuileries (comp. the Plan, p. 93), founded by Catherine 
de Me"dicis, widow of Henri II, was begun in 1564, beyond the city-walls 
of that period. It derived its name from the tile-kilns (tuileries) that orig- 
inally occupied its site. The first architect wa9 Philiberl Delorme, who 
was succeeded by Jean Bullant. The above-mentioned pavilions were 
subsequently incorporated with it. 

Before the Revolution the palace was only occasionally occupied by 
the French sovereigns; but it was the habitual residence of Napoleon I., 
Louis XVIII, Charles X, Louis Philippe, and Napoleon III. With the 
exception of the Hotel de Ville (p. 175), no other edifice in Paris is more 
closely connected with the historical events which followed on the close 
of the 18th century. On 5th Oct., 1789, Louis XVI was brought from 
Versailles to the Tuileries, and in June, 1791, he was again forcibly 
installed here after the arrest of his flight at Varennes. On 20th June, 
1792, the anniversary of the meeting in the Jeu de Paume (p. 350), the 
palace of the Tuileries was attacked by a mob of about 30,000 rioters 
armed with pikes. The death-knell of the monarchy was sounded on 
10th August. The national guards posted in the palace-yard and garden 
were deprived by stratagem of their commanding officer, who was put to 
death, and the king, yielding to repeated solicitations, repaired, with his 
family, to the Manege (see p. 67), where the legislative assembly held its 
meetings. The Swiss guards were eager to defend the Tuileries, but the 
king sent orders to them to surrender. The palace was immediately 
invaded by the assailants, who massacred the guard and sacked the building. 
— On July 29th, 1830, the Tuileries were again besieged by the populace, 
and Charles X, who was king under the Restoration, was forced to fly. — 
The July monarchy was extinguished in the same way on Feb. 24th, 1848, 
when Louis Philippe was compelled to leave the palace in the hands of the 
insurgents, who once more pillaged the contents. — On 20th May, 1871, 
the Communards, aware of their desperate position, determined to wreak 
their revenge by setting all the principal public buildings on fire. Barrels 
of gunpowder and combustibles steeped in petroleum were placed in the 
various rooms of the palace. It was set on fire at a number of different 



70 Right Bank 1. PLAGE DU CARROUSEL. 

places on 22nd and 23rd May, after the Versailles troops had forced an 
entrance into the city, and, like the Hotel de Ville, was almost completely 
destroyed. 

The Arc de Triomphe du Carrousel (PI. R, 17; IT), which now 
bounds the garden on the E., was formerly the principal entrance 
to the Tuileries. It was erected by Fontaine and Percier to com- 
memorate the victories won by Napoleon I. in 1805. It is an imi- 
tation of the Arch of Severus at Rome, 48 ft. in height and 63*/2 ft- 
in width (Arch of Severus 75 ft. high and 82 ft. wide). 

The arch is perforated hy three arcades and emhellished with Corin- 
thian columns with bases and capitals in bronze supporting marble statues 
representing soldiers of the empire. The marble reliefs on the sides 
represent : in front, on the right, the Battle of Austerlitz ; on the left, the 
capitulation of Ulm; at the back, on the right, the conclusion of peace 
at Tilsit; on the left, entry into Munich. On the N. end, the entry into 
Vienna ; on the S. end, conclusion of peace at Pressburg. The arch was 
originally crowned with the celebrated ancient Quadriga from the portal 
of St. Mark's in Venice, but this was replaced in 1815 by a Quadriga 
designed by Bosio: Triumph of the Restoration. 

The open space between the Old Louvre and the Arc de Triomphe 
du Carrousel was occupied until the middle of the 19th cent, by a 
labyrinth of narrow streets. The Place du Carrousel (PL R, 17, 20; IT), 
on the E. side of the arch, was then a small square, which derived 
its name from a kind of equestrian ball given here by Louis XIV 
in 1662. Louis Philippe began the removal of the houses, and the 
work of demolition was completed by Napoleon III. to make room 
for the construction of the New Louvre (p. 93). The Place, levelled 
and enlarged under the latter monarch, retained its former name. 

The Monument of Gambetta, opposite the arch, consists of a 
lofty stone pyramid with a bronze group in high relief represent- 
ing Gambetta (1838-82) as organiser of the national defence. At 
the sides are decorative statues representing Truth and Strength, 
and on the top is Democracy (a maiden seated on a winged lion). 
The numerous inscriptions are chiefly passages from Gambetta's 
political speeches. The general design of the monument is by 
Boileau, the sculptures by Aube. — The little garden immediately 
behind is to be embellished with sculptures exalting the arts (by 
Segoffin, Fagel, Landowski, Octobre, and others). — The Equestrian 
Statue of Lafayette (by P. W. Bartlett), which stands on a lofty 
pedestal in the second grass-plot of the Carrousel square, is a gift 
from the children of the United States. Around this plot are to be 
placed statues representing Poetry, Literature, Music, and Science. 

In the Pavilion Denon, to the S.E. of Gambetta's monument, is 
the entrance to the Louvre (see p. 95). 

Quitting the Place by the gates ('guichets') near the Pont du 
Carrousel (p. 298), we notice the fine exterior facades of the Louvre 
(see p. 92). — Immediately beyond the N. gates we reach the Rue 
de Rivoli, not far from the Palais-Royal (p. 88). 



CHAMPS-ELYSEES. Bight Bank 1. 71 

MfcTROPOLiTAiN Stations between the Champs-Elysies and the Place de 
VEloile (Line 1), see Appx., p. 29. — Restaurants in the Champs-Elysees, 
see pp. 16, 20. 

To the "W. from the Place de la Concorde extend the Champs- 
Elyse'es, at the entrance to which are placed two figures of Horse 
Tamers, by G. Coustou. These were removed from the palace at 
Marly (p. 373) to their present position, where they form a suitable 
counterpart to the winged steeds at the exit of the Jardin des Tui- 
leries (p. 67). 

The *Champs-Elysees (PI. R, 15; II) were originally laid out 
at the end of the 17th cent, but were considerably altered after 
1815. The E. portion forms a kind of small park, 750 yds. long 
by 300-400 yds. wide; beyond which the magnificent Avenue des 
Champs-Elysees, l 1 /^ M. in length, beginning at the Kond-Point, 
ascends to the Arc de Triomphe (p. 75). The park and avenue are 
among the most fashionable promenades in Paris, especially from 3 
to 5, 6, or 7 p.m. according to the season, when numerous carriages, 
motor-cars, and cyclists are on their way to and from the Bois de 
Boulogne. At night the brilliantly illuminated thoroughfare presents 
a very fine effect as seen from the Place de la Concorde. The more 
remote walks should be avoided after dusk. — At the E. end, to 
the right and left, are the cafes-concerts and frequented restaurants 
mentioned on pp. 41 & 16. — The small drinking-fountains, which 
we notice in the Champs - Elyse'es and elsewhere in Paris, were 
erected by Sir Bichard Wallace (d. 1890). 

To the right, separated from the Champs-Elyse'es by a large garden, 
ia the Palais de l'Elysee (PI. R, 15; II), erected in 1718 but rebuilt on a 
larger scale in 1850. It is now the official residence of the President of 
the Republic (no admission). During the reign of Louis XV this mansion 
was the residence of Madame de Pompadour. Louis XVI presented it to 
the Duchesse de Bourbon, and it was known thereafter as the 'Elyse'e 
Bourbon 1 . The palace was afterwards occupied in turn by Murat, Na- 
poleon I., Louis Bonaparte, King of Holland, and his queen Hortense, the 
Due de Berry, and finally by Napoleon III., as President of the French 
Republic. 

On the S. (left) side of the Champs-Elysees rise the Petit Palais 
and the Grand Palais, built in 1897-1900. Between them passes 
the Avenue Alexandre Trois, or Allee Triomphale, which commands 
a fine view of the Pont Alexandre III (p. 224), with the Esplanade 
and Dome of the Invalides in the background. 

The Petit Palais (PI. R, 15; II), or Palais des Beaux- Arts de 
la Ville de Paris, on the left side of the avenue as we approach the 
Pont Alexandre III, is a more successful building than its larger 
neighbour. It was designed by Charles Girault, in a style suggestive 
of the 17- 18th cent, and harmonizing with the adjacent structures 
in the Place de la Concorde and the Place des Invalides. The main 
facade is adorned with two graceful colonnades and a dome, which 
contains the principal entrance. On the right of the porch are the 
Seasons, by L. Convers; on the left, the Seine and its banks, by 
Ferrary. The tympanum and the base of the dome are adorned with 



72 Bight Bank 1. PETIT PALAIS. Champs 

statuary by Injalbert and Be Saint- Mar ceaux. Behind the edifice are 
the Hours, by H. Lemaire, and Archaeology and History, by Bes- 
vergnes. This palace contains the paintings and sculptures purchased 
by the City of Paris at the annual Salons since 1875, the Collection 
Dutuit, bequeathed to the" city in 1902, and the Salles Carries, 
Dalou, Henner, and Ziem, added in 1905-7. The museumis open 
daily, except Mon. , 10-5 (4 in winter) ; no charge for leaving sticks 
and umbrellas. Catalogue (1906; 1 fr.) by H. Lapauze, the present 
curator. 

In the Yestibule, or 'Rotunda', is a gilt bronze group by Fremiti 
(St. George and the Dragon). — We first enter the — 

Galeeje de Sculpture de la Yille, to the right and left of 
the vestibule. This contains over a hundred works in plaster or 
marble, but nothing very remarkable. 

To the right of the vestibule. Left wall : Marble sculptures by Allouard, 
Roufosse, and Biguine; Mirite, Hallali ; Moncel, Enigma ; then busts of 
Turcan and St. Just by Houdon and David d" Angers (1848). In the centre : 
Fr&miet, Duguesclin (gilded) ; J. Boucher, Before the sea; H. AUouard, 
Richelieu; E. Fontaine, Leda; Th. Barrau, Salammbo andMatho; A. Mulot, 
The child at the spring; Barthe, Prayer. Eight wall: Sculptures by Moncel, 
H. PU, etc. Rotunda: centre, R. Larche, The tempest; right, Francis I., 
by /. /. Cavelier (from the old Hotel de Ville); Barrias, B. Palissy. 

To the left of the vestibule. Right wall: Sculptures by Moncel, J. Gardet, 
and Vital- Cornu; G. Bareau, The poet's vision (Victor Hugo; marble). In 
the centre: Frimiet, Torch-bearer (original at the Hotel de Ville, p. 178); 
Roger-Bloche, Hunger (bronze) ; Larroux, Nymph and dolphin ; Malric, Nar- 
cissus ; Daillion, Awakening of Adam ; etc. Left wall : L. Aub4, Dante ; 
works by Salieres, Etcheto, etc. Rotunda: Octobre, Remorse; on the left, 
Empress Josephine, by Vital Dubray ; works by Deschamps, Peyrol, Fagel, 
Dalou., etc. — To the right of this rotunda are the Salles Dalou, de Sevres, 
Carries, etc. (see p. 73). 

The Galebje de Peinture de la Ville, which is entered from 
the left wing of the sculpture-gallery, is a collection that has been 
variously criticised, though several of the paintings are of undoubted 
merit. 

Left wall : Roll, Pete du Quatorze Juillet ; Gilbert, Dyeing-room at the 
Gobelins; /. Blanche, Cheret, the poster-artist; Avy, \Bal blanc 1 ; Cottet, Low 
mass in Brittany; Bonnat, St. Vincent de Paul ransoming galley-slaves; 
D. Lucas, Rustic meal; Bail, A game of cards; Simon, A visit; Guillaumet, 
The omen; Lhermitte, The Halles. — Marble sculptures: Moncel, Towards 
love, Ivy. — Humbert, Col. Marchand ; Bourgeois, Moon-rise; Eoechlin, Sea- 
piece; Hochard, Citizens of a small town; landscapes by Gartier, R. Billotte, 
and Flameng; J. P. Laurens, St. Bruno; Mile. Bashkirtseff, Portrait of her- 
self; /. P. Laurens, Proclamation of the Eepublic (1848); Cabanes, Caravan 
in the desert. — Busts : /. Desbois, Bust of a woman ; A. Rodin, "Victor 
Hugo. — Luigi Loir, Fete in honour of the Emperor of Russia (1896); 
MSnard, Ancient ground; Fantin-Lalour, Faust, Temptation of St. Anthony ; 
Gazin, Evening of a fete; Pointelin, The Jura Mts.; Ten Gate, Landscape; 
Luigi Loir, A corner of Bercy. — - Marble sculptures: Marquet de Vasselot, 
Purity; Biguine, The first piece of jewelry. — Landscapes by Gagliardini, 
Doigneau, Petitjean, Gazin, Boudin, and A.Demont; Dubufe fits, Mother and 
children; Ant. de la Gandara, M. Paul Escudier; Blanche, Little girl, Mother 
and children, Flowers; Hochard, Priests; Bail, Nun ; Bellan, Evening-prayer; 
Roll, Exodus; Vollon, Interior of a studio ; Jeanniot, The presentation ; Dhur- 
mer , Maternity; Ribot, At the antiquary's; Fouace, Double blow; Bail, 
Cinderella; Dinel, A madman; Aman-Jean, Girl; Benjamin Constant, Death 



Ely&its. PETIT PALAIS. Might Bank 1. 73 

of the emir ; A. de Neuville, *Battle at the limekilns of Champigny (1870). — 
At the end: A. Truchet, Aesthetic soiree; /. Viber, Three friends; Jamet, 
Weaver's family; Boutigny, Old soldier. — To the left (coming back): 
Chiffart, Shepherds in the Campagna (Rome) ; *Daumier, Trio of amateurs, 
Chess-players, Print- collectors; Jongkind, Landscape; Gorot, Portrait of 
Daumier; G. Courbet, Proudhon and his children, 'Siesta, *The young ladies 
of the hanks of the Seine, M. Corbineau; drawings by Dhurmer and Liandre 
(Man smoking a pipe); Guittemet, Landscapes; Raffaelli, Hotel des Invalides; 
Le Sidaner, Bridge of Sighs; Landscapes by Pissaro and Lebourg; Claude- 
Monet, *Sunset; Adler, In the mining-district ; Sisley, Church of Moret; Petit- 
Jean, Village. — Marble sculptures: Fontaine, Leda; Roufosse, The first 
thrill. — Brouillet, Hay-making ; Guillemet, Paris seen from the heights of 
Belleville; Roll, In summer; Henri Martin, ^Landscape ; Harpignies, Luxem- 
bourg Garden; Roll, Portrait of Alphand (p. 236); Didier - Pouget , Heath; 
Henri Zo, Market of the Encarnacion; Guay, The sands; Carriere, Mother 
and Child, Two panels for the town -hall of the ninth arrondissement ; 
drawings by Roll, Billotte, etc.; A. Maignan, 'Come unto me all ye that 
labour and are heavy laden 1 . — In the centre (beginning at the end), 
^Drawings and water-colours by Daumier, L. Bonnat, Luc- 01. Merson, Dela- 
croix, Raffet, Hubert, J. P. Laurens, H. Martin, Marcel Baschet, Daniel Vierge, 
Rochegrosse, Ghartran, Harpignies, Ten Cate, Ed. Detaille, Vollon, Gabanes, 
Sisley, Sleinlen, and /. Viber. Sculptures: Etcheto, Villon; Barrios, *The 
first interment; Bareau, Diana the huntress. — We return to the entrance 
of the Galerie de Peinture. 

To the left of the Galerie de Peinture are some smaller rooms. — 1st 
Room or Salle Dalou (to the right of the rotunda mentioned on p. 72 
and to the left of the following room, which may be entered from the 
gallerv also): Models and sketches of works by the sculptor Dalou (1838- 
1902);' to the left, Bronze busts of Aug. Vacquerie (1819-1895), the writer, 
Charcot (1825-1893), the physician, and others. — 2nd Room: Sevres Por- 
celain, exhibited at St. Louis in 1904, incl. statuettes after Dalou, Hercule, 
Alf. Boucher, P. Dubois, D. Puech, Escoula, vases, etc. — 3rd Room or Salle 
Carries (to the right of the 2nd room) i Works by Jean Carries (1855-1894), 
the potter, incl. a monumental gate in stoneware enamelled in a very 
fanciful style, but unfinished; realistic busts and heads, — We re-enter 
the gallery and, farther on on the left, leave it by the fifth room, through 
which we pass to the 4th Room or Salle Ziem, which contains 35 oil- 
paintings (principally sea-pieces and views of Venice), 41 water-colours, 
sketch-books, etc., presented to the city of Paris by M. Ziem, the painter. 
In the centre, Portrait of M. Ziem, by Ricard, and his bust in bronze, by 
Sigoffin. — 5th Room: Drawings by Puvis de Chavannes, Delacroix, Har- 
pignies, Vierge, Blanche, and Formige". In the centre, Bronze bust of Har- 
pignies, by Sigoffin; by the window, The spring, by Injalbert; in the left 
corner, Meissonier on horseback, bronze by /. Fr. Meurice. 

6th Room or *Salle Henner (to the right of the 5th Room): Paintings 
by /. /. Henner (1829-1905), presented by his nephew M. Jules Henner. 
To the right, Recumbent nymph ; above, The old carpenter Hermann 
(painted when the artist was only 16); Portrait of the artist (1890); Mary 
Magdalen at the Cross (1859); Joseph Bara (seep. 303); the Nymphs 1 toilet 
(1890); The little scribe (1866); Alsatian landscapes; *Crucifixion; Little 
girl with the blue ribbon (1865) ; Christ in the tomb (sketch ; 1892) ; Nymphs 
after the bath (1860); two portraits. At the end, Eclogue. To the left as 
*we return, Portrait of Mme. Henner (1893); Italian landscapes; Reverie 
(unfinished; his last work); bronze bust of Henner, by P. Dubois; portrait 
of General Chanzy ; Mary Magdalen kneeling. — 7th Room : Portraits of 
women, by Ricard, Fantin-Latour, V. Mottez, Dubufe sen. ; Hubert, Music. — 
Second small rotunda (straight on) : Hubert Robert, Medici Venus, Farnese 
Hercules. 

On the other side of the small rotunda, opposite the exit from 
the 7th room, is the entrance to the Collection Dutuit, which was 
formed by the brothers Eugene and Auguste Dutuit (d. 1886 and 



74 Bight Bank 1. PETIT PALAIS. Champs 

1902), and includes paintings, rare books, old prints, antiquities, 
and other works of art. Short catalogue by H. Lapauze, 1 fr. (1907). 

To the right of the entrance, Tiepolo, Alexander and Bucephalus. — 
Right wall: Landscapes by Fragonard; Boucher, The happy mother; Pater, 
Park-scene; Oudry, Return from the hunt; E. Robert, Washerwomen in 
a park; Watteau, Heads. On the commodes and in the glass-cases below, 
Clodiorii "Bacchanalian scenes (low-reliefs). Then, Landscapes by H. Robert 
and J. Vernet; G. Melsu, The toilet; Ruysdael, Environs of Haarlem; Aert 
van der Neer, Sunset on the Yssel; Terburg, "The betrothed; G. Metsu, 
Young lady at the harpsichord ; Palamedes, Bad company, Interior; several 
small pictures by Tenters the Younger; Brouwer, Tavern-scene; Cuyp, Cows; 
/. Steen, *The little collector; Adr. van de Velde, Mercury and Argus; 
*Hobbema, Windmills, Forest-path; Gonzales Coques, "Company of artists 
(among them Brouwer, Coques, etc.) ; ilT. Maes, Lace-maker ; /. van Ostade, 
"Farmyard; Ruysdael, Torrent; Weenix, Merry company ; Rembrandt, "Por- 
trait of himself in oriental costume (1631); N. Poussin, Massacre of the 
Innocents; Claude Lorrain, Sunset over a seaport. Below, in the table- 
case, Engravings by Rembrandt, Van Mieris, Van Osiade, and others. Then 
two glass-cases containing Italian fayence; Day and Night, after Michael 
Angelo, attributed to Giovanni da Bologna (?), and a female statuette in 
wood from Champagne (16th cent.). 

Central cases: Objects of industrial art. To the right (beginning 
at the rear-wall), 1st Case: Watches; jewelry; pax; etc. — 2nd Case: 
Fayence by B. Palissy, from Rouen, Sceaux, etc. — 3rd Case: Venetian 
glaS'i vessels; lamp from a mosque; etc. — 4th Case: Limoges enamels 
(16th cent.) ; triptyches by Nardon and Jean II Pbnlcaud ; female portrait, 
by L. Limo&in; ewers illustrating the story of Jason, by /. Courteys; other 
articles by P. Raimond and M. Didier. — 5th Case: Chandelier and two 
feeding-bottles (in perfect preservation), in the famous Henri Deux or 
Oiron ware, made at St. Porchaire. — 6th Case: Champleve enamels; 
ivory hunting-horn; ivory votive plaque (Byzantine work; 10th cent.); 
ivory chaplets (French; 16th cent.); ivory powder-flask (Italian; 16th cent.); 
carved saddle-bow (German; 15th cent.); processional cross of Theodorus, 
in chased silver (Byzantine). — 7th Case: Louis XV silver-work; Lepaute 
clock; breakfast-service once belonging to Mme. Dubarry. — 8th Case: 
Objects in lacquer, jade, and selad»n porcelain. 

On the left wall (as we return): Landscapes by De Marne and /. Vernet. 
On the commodes, two Louis XIV bronzes. In the glass-cases, Chinese 
porcelain; enamelled stoneware. Then, three low-reliefs of the Delia 
Robbia school; Virgin and Child (Florentine school, 15th cent.); two bronze 
fire-dogs (Florentine school, 15th cent.). — In the passage, to the right, 
gable-ornament in fayence (16th cent.). 

By the staircase to the right of the passage we descend to the ground- 
floor, containing the rest of the Dutuit collection. To the left, the Galerie 
des Antiques. Bronzes, the most important found at Fins d'Annecy; terra- 
cotta vases ; Tanagra figurines ; ornaments ; glass ; coins ; tesserae for record- 
ing votes (ostraca), etc. — Then some Renaissance medals, incl. those 
of Henri IV and Marie de Medicis, by G. Duprd, and of Catherine de 
Medicis, by G. Pilon. Lastly manuscripts and books. 

To the right, the Salle des Estampes (engravings). Only one section 
of the collection of engravings is exhibited at a time (in 1907, specimens of 
Rembrandt and Diirer) and special permission is required to see the others. 

The Grand Palais (PI. R, 15; II), "built by Deglane, Louvet, 
and Thomas, extends on the W". as far as the Avenue d'Antin. The 
facade is adorned with a double colonnade, and the building is 
crowned by flat domes. The sculptures of the central portico are by 
Gasq, Boucher, B. Verlet, Lombard, C. and H. Lefebvre, Labatut, 
Barrau, Beguine, Charpentier, etc. At the top, above the abutments, 
are two imposing quadrigae (Harmony routing Discord and Immor- 



Elysees. ARC DE L'ETOILE. Bight Bank t. 75 

tality vanquishing Time), by Becipon. Behind the colonnade is a 
frieze in glass-mosaic, representing the Great Periods of Art, by G. 
Martin, after Ed. Foumier. The cnpola of the vestibule is to be 
painted by Besnard. In this palace are held the annual exhibitions 
of paintings and sculptures, horse -shows, motor-car and cycle 
shows, agricultural exhibitions, and the like. 

Near the Grand Palais is the Champs- Elysees Station of the 
Metropolitain (Appx., p. 29), beyond which, to the left, is the Palais 
de Glace (p. 46). — On the other side of the avenue are the Pavilion 
de VElysee (p. 17) and the handsome Theatre Marigny (p. 41). — 
On the grass-plot to the right of the Pavilion de l'Elysee is a marble 
Statue of Alphonse Daudet (1840-97), the novelist, by De St. Mar- 
ceaux, erected in 1902. 

The park or CarrS des Champs-Elysees extends as far as the 
Bond-Point des Champs-Elysees (PL R, 15; W), a circular space 
adorned with beds of flowers and six fountains, situated at the inter- 
section of the Avenue d'Antin and the Avenues Matignon and 
Montaigne. — In the Avenue Matignon (to the right of the Rond- 
Point) is the house (No. 3) where the poet Heine died in 1856, with 
a large balcony on the 5th floor, where he often sat. — The Avenue 
Montaigne leads towards the Place and Pont de l'Alma (p. 225). At 
the S. end of the Avenue d'Antin is the Pont des Invalides (p. 225). 

In the opposite direction (N.) the Avenue d'Antin extends to St. Philippe- 
du-Roule (PI. B, 15 ; II), a basilica in the classic style, built in 1769-1784 
from designs by Chalgrin. The cupola is decorated with a Descent from 
the Cross, by Chasseriau. 

Farther on, to the left of the Champs-Elysees, extends the mod- 
ern Quartier Maroeuf (Metro Stat., Appx., p. 29), consisting of 
handsome private residences. Then, on the left side of the Avenue, 
is the vast Elysee Palace Hotel (p. 3), just beyond the Avenue de 
VAlma Station of the Metropolitain. 

The Place de VEtoile (PI. B, 12; 7), so named from the star 
formed by the twelve different boulevards or avenues which radiate 
from it (see p. 76), occupies a slight eminence, formerly known as 
the Montagne du Roule. In the centre rises the — 

*Arc de Triomphe de l'Etoile, the largest triumphal arch in exist- 
ence, and visible from almost every part of the environs of Paris. 
Begun by Napoleon I., in memory of his victories in 1805-6, from 
designs by Chalgrin (d. 1811), it was completed by Louis Philippe 
in 1836. It consists of a vast arch, 96 ft. high and 48 ft. wide, 
intersected by a lower transversal arch, 61 ft. high and 27 ft. wide. 
The whole structure is 162 ft. in height, 147 ft. in width, and 73 ft. 
in depth. The arch conveys a somewhat heavy impression when 
approached. The huge pillars of masonry on which it rests are 
adorned with colossal trophies, 36 ft. high, with figures 16 ft. high. 
The final top member is still wanting. 

The following groups adorn the E. facade: on the right, *Rising of 
the people in 1792 at the summons of the Genius of War, by Rude, the 



76 Bight Bank 1. ARC DE L'ETOILE. Champs Elysees. 

finest of the four groups; above it, the Obsequies of General Marceau (1796), 
by Lemaire. On the left, Triumph of Napoleon after the Austrian campaign, 
and the Peace of Vienna (1810), by Cortot ; above it, Mustapha Pasha sur- 
rendering to Murat at the battle of Aboukir (1799), by Seurre the Elder. — 
The bas-reliefs on the frieze surrounding the monument represent the 
departure and the return of the troops, by Brun, Jacquot, Seurre, and Rude. 

On the W. facade : on the right, Resistance of the French to the in- 
vading armies in 1814, by Etex; above it, Passage of the bridge of Ar- 
cole (1796), by Feucheres. On the left, the Blessings of Peace (1815) ? by 
Etex ; above it, the Taking of Alexandria (1798 ; Kle"ber, who has received 
a wound on the head, points out the enemy to his troops), by Chaponnilre. 

The reliefs on the N. side, by Gechter, represent the battle of Auster- 
lit?, (1805). On the S. side is the battle of Jemappes (1792), by Marochetti. 

The figures of Victory in the spandrels are by Pradier. A series of 
30 shields on the cornice above the entablature are inscribed with the 
names of different victories, while the names of 142 other battles appear 
on the vaulting of the principal arch. On the vaulting of the transversal 
arch are recorded the names of officers of the Republic and of the Em- 
pire, the names of generals who fell in battle being underlined (386 
in all). The figures of Victory in relief under these names relate to suc- 
cesses gained in the East, North, and South. 

The coffin of Victor Hugo (d. May 22nd , 1885) lay in state beneath 
the arch on June 1st, 1885, before its transference to the Panthdon (see p. 285). 

The Platform, to which a spiral staircase of 273 steps ascends, 
commands a noble *Prospect (adm. 10 till 4 or 6, free, but a small 
fee, for a charitable object, is expected by the attendant). Best 
view towards evening, and in a W. wind after rain. 

To the E. the Champs-Elyse'es and the Grand Palais (right) ; farther on, 
the Louvre, beyond which rise the Tour St. Jacques, the Hotel de Ville, etc. 
To the right of the latter, the towers of Notre-Dame and the lofty dome 
of the Pantheon, with St. Etienne-du-Mont on the left and, nearer, the 
dome of the Sorbonne; in front the belfry of St. Germain-des-Pre's, on the 
right the two towers of St. Sulpice and, nearer, the double spires of Ste. 
Clotilde; to the right, in the distance, the dome of the Val-de-Graee church; 
nearer, the gilded dome of the Invalides; in the distance, the belfry of 
Montrouge church; nearer, the Eiffel Tower and the Trocadero. To the left 
of the Louvre (N.E.) appear the low dome of the Bourse, the Vendome 
Column, the green roof of the Madeleine, the heights of Pere-Lachaise and 
Belleville, with the Crematorium and the churches of La Croix and Belle- 
ville ; in front are the Opera House, and the church of St. Augustin. Farther 
to the N. is the white church of the Sacre'-Coeur on Montmartre and, in 
the distance, the cathedral of St. Denis and, to the left, the hills of 
Montmorency and Cormeilles, etc. To the W., the Avenues de la Grande 
Arruee and de Neuilly, which it is proposed to extend as far as the forest 
of St. Germain-en-Laye ; Mont Valerien, with the hills of St. Cloud and 
Meudon farther to the left. At our feet stretches the Avenue du Bois- 
de-Boulogne. 

Of the twelve avenues which radiate from the Place de l'Etoile 
there remain to he mentioned the Avenue de Friedland, with the 
Monument of Balzac (1799-1850), by Falguiere ; the Avenue Hoche, 
leading to the Pare Monceau (770 yds.; see p. 222); the Avenue de 
la Grande- Armee (Me'tro Stat.), continuing the Avenue des Champs- 
Elysees towards Neuilly (p. 223); the Avenue du Bois-de-Boulogne 
(p. 236); the Avenue Kleber (Metro Stat.), leading straight to the 
Trocade'ro (p. 230) and passing the pretty Palais de Castille (No. 19) ; 
and the Avenue Victor-Hugo (Metro Stat.), leading to the Bois de 
Boulogne via the Porte de la Muette (PI. R, 5; p. 235). 



Boulevards. THE MADELEINE. Right Banlc 2. 77 

In the Place Victor-Hugo (PL R, 9 ; Metro Stat.) rises the Victor 
Hugo Monument, in bronze, by E. Barrias. The poet (1802-85) is 
represented standing on a rock flanked by allegorical figures of 
Drama, Lyric Poetry, Satire, and Fame, the pedestal being adorned 
with reliefs. His death took place at his house, No. 124 in the Avenue 
(p. 76), now bearing a fine relief- portrait of the poet (by Fou- 
quereau) above the door. 

To the right of the arch (in coming from the Champs-Elyse'es) is one 
of the most important stations of the MUropolitain, the junction of Lines 1, 
2N, and2S (see Appendix, p. 29). — Omnibus (seeAppx.,pp.34,36): C(motor) 
Porte de Neuilly-Hotel de Ville; AB Passy-Bourse. — Tramways (Appx. 
pp. 37, 38, 39, 41): TD Etoile-La Villette; TP Trocad<5ro-La Villette; TAE 
Auteuil-Madeleine •, TAG La Muette-Rue Taitbout; TNA Etoile-Courbevoie; 
TS3 Etoile-Montparnasse; TS11 Placa Pereire-Champ-de-Mars. — Steam- 
Tramway to St. Germain-en-Laye, see p. 373. 



2. The Boulevards. 

For the M>.tropolitain Stations in the proximity of the Grands Boule- 
vards, see the Appendix, p. 32. — Restaurants, see p. 17. 

The broad Rue Royale, which was almost entirely destroyed by 
the Communards in 1871, leads to the N. from the Place de la Con- 
corde (p. 65) to the Madeleine, the starting-point of the Boul. 
Malesherbes (p. 221) on the left, and the Grands Boulevards (p. 78) 
on the right. In front of the church is a marble Statue of Jules Simon 
(1814-96), the philosopher, by Puech (1903). Behind the statue is 
Simon's former house (No. 10, Place de la Madeleine). 

The *Madeleine, or Church of St. Mary Magdalen (FIR, 18; II), 
is built in the style of a Roman temple. It was begun in 1806, on 
the foundations of a church of the 18th cent., by Napoleon I., who 
intended it for a 'Temple of Glory'. The architect was P. Vignon. 
Louis XVIII desired to make it an expiatory church with monuments 
to Louis XVI and Marie Antoinette. It was finished in 1842, from 
designs by Huve. The church is 354 ft. in length, 141 ft. in 
breadth, and 100 ft. in height. The building, which is destitute of 
windows, stands on a basement about 11 ft. in height, and is sur- 
rounded by an imposing colonnade of massive Corinthian columns. 
The niches in the colonnade contain thirty-four modern statues of 
saints. The relief in the tympanum of the principal facade (S.), by 
Lemaire (restored in 1904 by Gauquie), represents the Last Judgment. 
The bronze Doors, 34i/ 2 ft. in height and 16 ft. in breadth, are adorned 
with illustrations of the Ten Commandments, by Triqueti. 

The -'Interior (open to visitors from 1 to 6 p.m. ; when the front gate 
is closed, entrance hy the choir) forms a single spacious nave, with side- 
chapels, behind which are colonnades bearing galleries. The ceiling con- 
sists of three cupolas and a hemicycle. In the spandrels are figures of 
the Apostles, by Pradier, Rude, and Foyatier. 

Sculptures and paintings in the chapels : to the right, Marriage of the 
Virgin, by Pradier; to the left* Baptism of Christ, by Rude; right, Ste. 
Ameiie, by Bra, and the Conversion of Mary Magdalen, by Schnetz; left, 



78 Right Bank 2. GRANDS BOULEVARDS. The Boulevards 

St. Vincent de Paul, by Raggi, and Christ at the house of Simon the 
Pharisee, with Mary washing the Saviour's feet, by Couder; right, The 
Saviour, by Duret, and Mary at the foot of the Cross, by Bouchot; left, 
The Virgin, by Seurre, and Angels announcing the Resurrection to Mary, 
by Cogniel; right, Ste. Clotilde. by Barye, and Mary Magdalen praying in 
the desert, with angels, by AM de Pujol; left, St. Augustine, by Etex, and 
Death of Mary Magdalen, by Signol. 

On the High Altar is a group in marble by Marochetti, representing 
Mary Magdalen being borne into Paradise by two angels. — At the 
back of the altar, in the apse, is a mosaic by Gilbert-Martin, representing 
Jesus Christ and personages from the New Testament. Above is a large 
fresco by Ziegler, representing Christ in the act of receiving and blessing 
the chief champions of Christianity in the East and West; below is 
Napoleon receiving the imperial crown from the hands of Pope Pius VII. 

The Madeleine is famed for its sacred music and orchestral perform- 
ances on great festivals and during Passion Week. The organ, one of the 
best in Paris, has live key-boards. Comp. also p. 44. 

Behind the church is a. Statue of Lavoisier (17 43-94), the chem- 
ist, hy E. Barrias, erected in 1900. The pedestal is adorned with 
reliefs representing Lavoisier in his laboratory, with his wife, and 
the great chemist instructing his pupils, Condorcet, Lagrange, La- 
place, Lamarck, Monge, etc. An inscription at the back records his 
d iscoveries. 

The **Grands Boulevards, or Boulevards Inter ieurs, over 30 yds. 
in width at places, extend in a semicircle round the old town, from 
the Madeleine to the Place de la Bastille, aud owe their origin to 
the embellishment of the city undertaken by Louis XIV. The 
name, which recalls the 'bulwarks', or fortifications, that surrounded 
th e city in the middle ages, recurs in the 'Boulevards Exte'rieurs' 
th a t encircled the capital until 1860, and in the 'Boulevards d'En- 
ceinte' (enclosure) which skirt the fortifications in the interior of the 
city. Since 1852 the name has been applied to numbers of thorough- 
fares which have nothing whatever to do with 'bulwarks'. The 'Great 
Boulevards', commonly known par excellence as '■The Boulevards', 
constitute the centre of Paris life. A walk from the Madeleine to the 
Place de la Republique at about four o'clock in the afternoon will 
afford the stranger an admirable insight into the general character of 
Paris. The pavements are then crowded with passengers, while 
elegant carriages, motor-cars, cabs, and omnibuses throng the road- 
way. The top of an omnibus (Madeleine-Bastille line) will afford a 
pleasant rest in case of need. 

Many of the boulevards, as well as some of the avenues and other 
principal streets, are paved with wood. The side-walks for foot 
passengers are of asphalt and flanked with trees. When a tree dies, 
as frequently happens, the gap is speedily filled by a full-grown 
substitute. Outside the cafes and brasseries are rows of chairs and 
little tables. Public benches are placed at intervals along the pave- 
ment, also chairs at 10 c, while there is a constant succession of 
newspaper and flower kiosques, advertising-columns, etc. At several 
of the crossings 'refuges' have been. erected for pedestrians, and 
t he police arrest the traffic from time to time. 



from W. to E. OPERA HOUSE. Right Bank 2. 79 

The Boulevard de la Madeleine (PI. R, 18; II), the first of the 
series, is also one of the shortest (240 yds.). In the Rue de Seze, 
No. 8 (r.), which diverges from it to the left, is the Galerie Georges 
Petit (p. 44). 

The houses at the N.E. corner of the Rue Caumartin and the Boul. 
des Capucines are admirable specimens of the early Empire architecture. 
They form a remnant of the Rue Basse-du-JRempart, laid out upon the wall 
of the old moat at the beginning of the 19th century. 

The ^Boulevard des Capucines (PI. R, 18, 21 ; IT), which comes 
next, extends to heyond the Place de l'Ope'ra. On the left, farther on, 
the Cafe de la Paix and the Grand-Hotel (p. 3). 

The Place db l'Opbra (PL R, 18; II), which is intersected by 
the Boulevard des Capucines, is one of the finest in Paris. Five 
broad streets radiate from it. To the S. run the Rue de la Paix (on 
the right) with the Vendome Column in the background (p. 86); 
the Avenue de V Opera (p. 88; in the centre), with the Cercle Militaire 
at the acute angle which it forms with the Rue de la Paix; and the 
Rue du Quatrt-Septembre (on the left ; Metro Stat.), leading to the 
Bourse (p. 208). To the N. , on the right and left of the Opera, are 
the Rue Halivy and the Rue Auber, the latter leading to the Gare 
St. Lazare (p. 213). The Rue Boudreau, to the left of the Rue Auber, 
leads to the small Square de l'Opera, adorned with a Pegasus by 
Falguiere. Continuation of the Boulevard, see p. 81. 

In the centre of the Place de l'Ope'ra is a station of the Mitropolitain 
(see p. 30). Three lines, one below the other, run underneath this Place, 
viz. Lines 3, 7, and 8 (the two last still unfinished); see Appx., p. 29. 

The *Opera House (PI. R, 18; II), a sumptuous edifice bearing 
the inscription ^Aeademie Nationale de Musique', designed by Chas. 
Gamier, was begun in 1861 and completed in 1874. It is the largest 
theatre in the world, covering an area of 13,596 sq. yds. (nearly 
three acres); but it contains seats for 2156 persons only (La Scala 
at Milan, 3600). No adequate idea of its vast dimensions can be 
obtained without walking round the exterior, or viewing it from 
some elevated position. The site alone cost 420,000£. and the cost 
of building amounted to 1,460,000£. There is hardly a variety of 
marble or costly stone that has not been used in its construction. 

The Principal Facade, which, notwithstanding the richness 
of its ornamentation, has a somewhat heavy and depressed appear- 
ance, is approached by a broad flight of steps, and consists of three 
stories. On the groundfloor is the Portico with its seven arches, the 
piers of which are embellished with four large groups of statuary 
and four statues, viz., from left to right: Lyric Poetry by Jouffroy, 
Music by Guillaume, Idyllic Poetry by Aizelin, Declamation by Chapu, 
Song by Dubois and Vatrinelle, Drama by Falguiere, *Dance by Car- 
peaux (to be replaced by a copy), and Lyric Drama by Perraud. Above 
the statues are medallions of Bach, Pergolese, Haydn, and Cimarosa. 
On the first floor is a Loggia, with thirty Corinthian monolithic 
columns, sixteen of which, 33 ft. in height, are of stone, while the 



80 Bight Bank ft OPERA HOUSE. The Boulevards 

fourteen smaller columns are of red marble, with gilded bronze 
capitals, and form a kind of frame to the windows with balconies 
of green Swedish marble. In the intervening spaces are medallion 
busts, in gilded bronze, of the great musical composers. Above the 
loggia the facade terminates in a richly sculptured attic, embellished 
with gilded theatrical masks, and with colossal gilded groups by 
Gumery, one on each side, representing Music and Poetry attended 
by the Muses and Goddesses of Fame. In the centre of the building 
rises alow dome (visible from a distance only), and behind it a huge 
triangular pediment, above the stage, crowned with an Apollo with 
a golden lyre, by A. Millet, and flanked with two Pegasi by Le- 
quesne. — There is also a pavilion in the centre of each of the Lateral 
Facades, that on the left side ('Pavilion d'Honneur') having a double 
carriage-approach. In front is the Monument of Charles Gamier, 
the architect (1825-98), by Carpeaux (1903). The pavilion on the 
other side is the covered carriage-entrance for regular subscribers. 
The lateral facades are adorned like the principal one with busts of 
composers and (in the pediments) allegorical figures. On the right, 
in the Rue Hale'vy and the Rue Gluck, is a series of fine candelabra 
or torch-holders, in bronze, designed by Carrier-Belleuse. — Perform- 
ances, see p. 37. 

•Interior. Passing through the gilded gates , we first enter 
the Vestibule, containing the ticket - offices and adorned with 
statues of Lulli, Rameau, Gluck, and Handel. Opposite to us is 
the *Grand Staircase ('Escalier d'Honneur), the chef-d'oeuvre of 
Gamier. Visitors who take their tickets at the door have to ascend 
to their places by side-staircases, but they may inspect the grand 
staircase in the 'entr'actes'. The steps are of white marble, and the 
balustrades of rosso antico, with a hand-rail formed of Algerian onyx. 
Thirty coloured monolithic marble columns rise to the height of the 
third floor. The ceiling-frescoes by Pils, beginning on the right, re- 
present Minerva restraining the Primitive Forces before the Gods of 
Olympus, Apollo in his Chariot, the Instructiveness of the Opera, 
and the Triumph of Harmony. The handsome door on the first 
landing, flanked by bronze caryatide figures of Tragedy and Comedy 
with drapery of coloured marble, and the bronze groups supporting 
the lamps should also be noticed. 

Below the grand staircase, in a room reached from the subscribers' 
entrance (see above), are the Bassin de la Pythonisse, a fountain with a 
priestess of Apollo in bronze, seated on a tripod, by Marcello (a pseudonym 
of the Duchess of Colonna), and a marble statue of Music, by Delaplanche. 

The Auditorium, or 'Salle', fitted up in the most elaborate 
style, is rather overladen with decoration, which, however, has al- 
ready begun to fade. There are five tiers of boxes. The spring of the 
arches, the 'avant-scenes', etc., on the fourth tier are adorned with 
figures and heads. Above are a handsome frieze and numerous 
small windows in the shape of lyres. The ceiling-paintings, by Lenep- 
veu, represent the hours of the day and night. 



from W. to E. BOUL. DES ITALIENS. Right Bank 2. 81 

The Stage is 196 ft. in height, 178 ft. in width, and 74 ft. 
in depth. Communicating with it is the Foyer de la Danse, the end 
of which is formed by a mirror 23 ft. broad and 33 ft. high. This 
foyer, to which subscribers only are admitted, has portraits of 
celebrated 'danseuses' and other paintings by Boulanger. 

The *Foyer du Public, one of the most striking features of the 
Opera House , is entered by the 'Avant-Foyer', the vaulting of 
which is adorned with mosaics designed by Curzon, and executed 
by Salviati, representing Diana and Endymion, Orpheus and Eury- 
dice, Aurora and Cephalus, and Psyche and Mercury. The foyer itself 
is 175 ft. long, 42 ft. wide, and 59 ft. in height. Five windows and 
two doors lead from the foyer to the loggia (view). Opposite the 
windows are huge mirrors, 23 ft. high, separated by twenty columns 
bearing statues emblematical of the qualities required by an artist. 
At the ends are also two monumental chimneypieces with Carya- 
tides of coloured marble. The fine but somewhat faded paintings 
webyBaudry. On the ceiling are Melody and Harmony in the centre, 
with Tragedy and Comedy at the sides. Over the chimneypieces 
are Mount Parnassus and the Poets of Antiquity. The other paintings 
represent the Muses, with the exception of Polyhymnia, the Music 
of different nations, and Dancing. At the central window is a bust 
of Gamier, by Carpeaux (1904). 

To the. left as we quit the auditorium ia the rotunda (buffet), decor- 
ated with tapestry designed by Mazerolle, representing Wine, Ices, Pastry, 
and Fishing. 

The Pavilion d'Honneur (p. 80), Rue Auber, contains (on the 1st floor, 
to the right) a Library (open 11-4), belonging to the Opera, and the small 
Musie de V Optra (open daily, except Mon., 1-4; closed duriDg the week 
after Easter and in July and Aug.). The latter conlains theatrical costumes 
and models of theatres since the 17th cent., portraits, busts, MSS., and 
theatrical posters. 

At the extreme end of the Boulevard des Capucines, on the left, 
are the Theatre du Vaudeville (p. 39) and the Rue de la Chaussee- 
d'Antin, at the end of which appears the church of La Trinite (p. 212). 

The *Boulevard des Italiens (PL R, 21 ; //, 111), which we 
next enter, is the most famous and fashionable of all the boulevards. 
It was so named in 1783 from the old Theatre des Italiens, which 
has been replaced by the Opera Comique (p. 82). At No. 33, on 
the right, is the handsome Pavilion de Hanovre (the groundfloor 
occupied by Christofle, the silversmith), built in 1760, restored in 
1887. The house of Marshal Richelieu (1757) previously stood on 
this site. On the left (No. 28) is the Theatre des Nouveautes (p. 40). 
On the right are the large building of the Credit Lyonnais, and, a 
little farther on, the Magasin des, Manufactures, et Ateliers d 'Art de 
VEtat (p. 48). Then follows the Rue Laffitte (p. 211), at the corner of 
which stood the once celebrated Maison-Doree Restaurant (now the 
Taverne Laffitte, p. 18). On this site was the house of Mme. Tallien 
(1775-1835). At the end of the street is the church of Notre-Dame- 

Baedekek. Paris. 16th Edit. 6 



82 Right Bank 2. BOUL. MONTMARTRE. The Boulevards 

de-Lorette (p. 211), while the Butte Montmartre, with the church 
of the Sacre-Coeur (p. 214), rises in the distance. At the corner of 
the Rue Le Peletier is the Cafe Riche (p. 16), in the Louis XV style. 

On the right of the Boulevard are the Rue Favart and the Rue 
Marivaux, between which is the Opera Comique (PI. R, 21, II; 
p. 38). The theatre, which was burned in 1887, was rebuilt in 
1893-98 by Bernier, with its facade towards the small Place Boiel- 
dieu, as before. The six caryatides and the ornamental heads on the 
exterior are by Allar, O. Michel, and Peynot. In the niches are 
statues of Poesy and Music by Guilbert and Puech. — The box-office 
is in the Rue Marivaux, near the boulevard. 

Interior. In the vestibule are marble statues of Lyric Opera and 
Comic Opera, by Falguiere and Mercie", and a monument to Bizet, by Fal- 
guiere. — The paintings on the grand staircase on the right are by Fr. 
Flameng: Tragedy (Sophocles causing the GMipus Coloneus to be recited 
to bis judges), Dance, and Vice fleeing before Truth and Satirical Comedy 
(on the ceiling). Those on the grand staircase on the left are by L. 0. 
Merson: Music and Song in the middle ages, Heroic Hymn, and Elegy. — 
The vestibule of the foyer is decorated by J. Blanc. — Grand Foyer: 
Gervex, The 'Ballet de la Reine 1 at the Louvre, in presence of Henri III 
and Catherine de Me'dicis, Theatre de Kicolet at the fair of St. Laurent; 
Maignan, Dance of the Notes (scenes from comic operas). — In the saloon 
next the Rue Favart (buvette): Toudouze, Dance, Music, Musical Pastoral 
of the 13th cent., Glorification of Music (ceiling-painting). — In the saloon 
on the other side: Raph. Collin, Romance, Ode, Inspiration, Truth animat- 
ing Fiction (ceiling-painting). — The ceiling-painting in the auditorium, by 
Benj. Constant, represents Fame, Symphony, Song, and Poetry, surrounded 
by typical figures from the operas performed here. 

The Boul. des Italiens ends on the E. at the Rue de Richelieu 
(right; pp. 207-201) and the Rue Drouot (left). On the right are 
the offices of the Temps, whose windows are kept well supplied with 
photographs from its correspondents. No. 6 (right) in the Rue Drouot 
(PI. B, 21 ; III) is the Maine of the 9th Arrondissement (Opera; in 
the former Hotel de Daugny; 1750), "with a monument of Voltaire 
by E. Lambert; No. 9 (left) is the Hotel des Ventes Mobilieres. 

The H6tel des Ventes Mobilieres, or Hotel Drouot, is noted for the ex- 
tensive sales of works of art, which take place between Jan. and May, 
generally at 2 p.m. Strangers are advised to refrain from bidding, unless 
accompanied by an habitue. The sales are for cash, and a percentage is 
added to the purchase-price for expenses. 

We now reach the Boulevard Montmartre (PI. R, 21; III). On 

the right diverges the Rue Vivienne, leading to the (3 min.) Bourse 
(p. 208) and the Palais-Royal (p. 88). Farther on, on the same side, 
are the Theatre des Varietes (p. 39) and the Passage des Panoramas; 
on the left are the Passage Jouffroy and the Musee Grevin (p. 43). 
Finally on the right and left diverge the Rue Montmartre and the 
Rue du Faubourg- Montmartre, two important thoroughfares. 

At No. 3, Rue Feydeau, to the right of the Rue Montmartre, is the 
Office National du Commerce FxtSrieur, established to facilitate and encour- 
age the intercourse of French manufacturers aud merchants with foreign 
countries. The Rue Montmartre (2/3 M. in length) debouches at the Halles 
Centrales (p. 194). About halfway down, at the N.E. corner of the Rue 
Montmartre and Rue St. Sauveur, is the sign 'Au Soleil dW, the finest 
in old Paris, dating from the early ISth century. 



from W. to E. PORTE ST. DENIS. Right Bank 2. 83 

The Boulevard Poissonniere (PI. R, 21, 24; III) owes its name 
to the Rue Poissonniere, through which most of the fish was formerly 
brought to the market. At Nos. 2-6 are the offices of the Matin, 
where photographs of personages of the day are always on view. 
Farther on, to the left of the Boulevard, diverges the small Rue 
de Rougemont, at the end of which is seen the Comptoir National 
d'Escompte (p. 59), rebuilt in 1883, with a fagade surmounted by 
a dome. At the end of the Boulevard are the Rue Poissonniere and 
Rue du Faubourg-Poissonniere, on the right and left. 

In the Rue du Faubourg -Poissonniere, No. 15, is the Conservatoire 
de Musique et de Declamation (PI. B, 21, 24; III), which stands on the 
site of the old Academie Royale de Musique, founded in 1795, and exists 
for the purpose of training singers and actors for the national stage. It 
has a teaching - staff of 81 and about 700 pupils. Pupils are admitted by 
competition and receive their training gratuitously. Winners of the Grand 
Prix are awarded an annual allowance of 3000 fr. for four years, during 
which they visit Italy and Germany for the purpose of perfecting them- 
selves in their art. The Conservatoire, which is now under the management 
of Gabriel Faure, has been at various times presided over by Cherubini 
(1795-1804), Auber (1842-70), Ambroise Thomas (1871-93), and Theodore Du- 
bois (1897-1905). — Concerts, see p. 43. 

The Conservatoire possesses a valuable Collection of Mtisical Instruments, 
open on Mon. and Thurs., 12-4 (closed from mid -July to the 1st Mon. in 
Oct.). It contains numerous instruments remarkable either as works of 
art or for their historical associations. — There is also a Musical Library, 
the most important of its kind in existence (open 10-4, closed Sun. and 
holidays). 

A little farther on, at the corner of the Rue Ste. C^cile and the Rue 
du Conservatoire, is the church of St. Eugene (PI. B, 21,24; 777), a Gothic 
edifice, built in 1854-55 from the designs of L. A. Boileau. The interior 
is supported by cast-iron columns. 

The Boulevard Poissonniere is succeeded by the Boulevard 
Bonne-Nouvelle (PI. R, 24; III). On the left are the Theatre du 
Oymnase (p. 39), the Rue d' 'Hauteville (at the end of which is seen 
the church of St. Vincent- de-Paul, p. 210), and the 'grand magasin' 
of La Menagere (p. 48). 

A few paces to the right of the boulevard, in the Rue de la Lune, is 
Notre-Dame-de-Bonne-Nouvelle (PI. R, 24; III), a church built in 1624 on 
the site of the Chapel of Ste. Barbe, which was destroyed during the siege 
of Paris by Henri IV (1593) and reconstructed in 1823-30. It contains 
a handsome marble group in high-relief by Ch. Desvergnes, representing 
the Memory of the Dead (in the first chapel on the right). The large chapel 
of the Virgin, to the left of the nave, is painted in fresco by Aug. Hesse. 
The other paintings are by Schnetz, Alaux, and A. de Pujol. — The shop 
of the Brioche de la Lune in this street is noted for its 'brioches 1 . — Andre 
Chenier the poet (1762-91) lived at No. 97 in the Rue de Clery (inscription), 
which crosses the Rue Poissonniere (see above). 

The Boulevard St. Denis (PI. R, 24; III), which comes next, 
has the Rue du Faubourg-St-Denis on the left, and the Rue St. Denis, 
one of the oldest streets in Paris, on the right. 

The Porte St. Denis, between the two last-named streets, is a 
triumphal arch, erected after 1673, from designs by Fr. Blondel, to 
commemorate the victories of Louis XIV in Holland and the district 
of the Lower Rhine. It is 81 ft. high and has a single archway. 
The piers are adorned on both sides with obelisks in relief covered 

6* 



84 Bight Bank 2. PORTE ST. MARTIN. The Boulevards 

with military trophies. At the hases of the obelisks on the front are 
represented, on the left, vanquished Batavia (Holland), and on the 
right the river-god of the Rhine. The relief above the arch on the 
same side represents the Passage of the Rhine by Louis XIV in 
1672} the relief on the other side, the Capture of Maastricht (1673). 
The sculptures, designed by Girardon and executed by the brothers 
Anguier, were almost entirely remodelled in 1886-87. 

The handsome streets which diverge a little farther on to the left 
and right are the Boulevards de Strasbourg and de Sebastopol (see 
p. 208). The Gare de l'Est (p. 209) is visible at the end of the 
former. Beyond the end of the Boulevard de Sevastopol rises the 
dome of the Tribunal de Commerce (p. 264). 

We next reach the Boulevard St. Martin (PI. R, 27, 24 ; III). 
The carriage-way was lowered in 1845, to facilitate traffic, while 
the foot-pavements retain their original height. Several theatres 
(see p. 36) are situated on the left side of this boulevard, viz. the 
ThSdtre de la Benaissance (p. 40), the Theatre de la Porte St. Martin 
(p. 39), burned by the Communards but rebuilt in 1873, the Ambigu 
and the Folies Dramatiques (p. 40; the last in the Rue de Bondy). 

The Porte St. Martin (PI. R, 24; III), a triumphal arch, with 
three openings , 57 ft. in height, designed by Pierre Bullet, was 
erected by the city in honour of Louis XIV after 1675. The reliefs, 
on the S. side by he Hongre and Legros the Elder and on the N. side 
by M. Desjardins and 0. Marsy, represent the Capture of Besancon, 
the Capture of Limburg, and the defeat of the Germans, Spaniards, 
and Dutch. 

A little to the S., in the Rue St. Martin, is the Conservatoire des Arts 
et Mttiers (p. 197). 

The Mairie of the 10th Arrondissement (PI. R, 24 •, ///) with its con- 
spicuous tower, in the Rue du Faubourg-St-Martin , about 300 yds. from 
the Porte , is a tasteful structure of 1893-96 , designed by E. Rouyer in a 
Renaissance style not unlike that of the Hotel de Ville. In the interior 
the staircase and the gallery in three stories may be mentioned. The Salle 
des Fetes, on the first floor, to the back, contains a large high-relief by 
Dalou, representing the brotherhood of nations. 

The Boulevard St. Martin terminates in the Place de la Re- 
publique, formerly called the Place du Chdteau-d J Eau (PI. R, 27; III). 
This handsome square occupies the site of an ancient bastion be- 
longing to the fortifications removed by Louis XIV, but did not 
receive its present regular shape until 1880. — On the N.E. side is 
the Caserne du Chdteau, formerly called the Caserne du Prince Eugene 
(1858), a barrack constructed by Napoleon III. to command the boule- 
vards. Near it is the Hotel Moderne (p. 9). — The centre is embel- 
lished with a bronze Statue of the Republic, by the brothers 
Morice , erected in 1883 , which is 32 ft. high to the top of the 
olive-branch. The stone pedestal, 50 ft. in height, is surrounded 
with seated bronze figures of Liberty, Equality, and Fraternity, and 
adorned with twelve bas-reliefs in bronze, by Dalou : Taking the oath 
in the Jeu de Paume; Capture of the Bastille; Renunciation of 



from W. to E. PLACE DE LA REPUBLIQUE. R. Bank 2. 85 

privileges; Festival of the Federation; Abolition of the monarchy 
and proclamation of the republic; Battle of Valmy; Volunteers 
enrolling ; Combat of the 'Vengeur'; Resumption of the tricolor in 
1830; Provisional government of 1848; September 4th, 1870; 
National Fete, July 14th, 1880. In front is a bronze lion with the 
urn of 'suffrage universel'. — Beside the monument is a Metropolitain 
station (Lines 3 and 5). 

Several important streets diverge from the Place de la Republique. 
To the S.E. is the Boulevard Voltaire (p. 251); to the E. runs the Avenue 
de la Ripublique, leading to Pere-Lachaise (p. 242). To the N.E., between 
the hotel and the barracks, the Rue du Faubourg-du-Temple leads to Belle- 
ville (p. 241 •, cable-tramway in */4 hr., 10 c). Near the point where it crosses 
the Canal St. Martin is a small square, on the Quai de Valmy, with a bust 
of Frid. Lemaitre (1800-76), the actor, by P. Granet. To theN.W. diverges 
the Boulevard de Magenta, which leads past the Gare de TEst and the Gare du 
Nord (p. 31) to Montmartre (the dome in the distance advertises the position 
of the Magasins Dufayel, p. 213). To the S.W. are the old Rue du Temple 
(p. 200), leading to the Hotel de Ville, and the wide Rue de Turbigo, more 
to the right, descending to the Hallea Centrales (p. 194). - Tramways, Omni- 
buses, and Metropolitain Railway from the Place de la Republique, see Appx. 

Between the Boul. Magenta and the Boul. St. Martin is the Bourse 
du Travail (PI. R, 27; ///), designed by Bouvard. It was erected in 1889-90 
by the city of Paris and placed at the disposal of the trade-councils ('syndicats 
professionals 1 ), with a view to superseding the private 'registry' offices. 
Socialist meetings are frequently held here. 

The Boulevard du Temple (PI. R, 27 ; III) is named from its 
proximity to the old Temple quarter (p. 200). It was at one time 
the fashionable promenade of the citizens, when the centre of Paris 
lay more to the E. than at present, and contained numerous theatres 
(comp. the views in the Musee Carnavalet, p. 190). — The Theatre 
Dejazet (p. 41), at No. 41, was built in 1852. 

The Boulevard des Filles-du-Calvaire (PI. R, 26; 7/7), which 
comes next, derives its name from an ancient nunnery (1633-1790), 
At its N. end, to the left, is the Cirque d'Hiver (p. 43). 

The Boulevard Beaumarchais (PI. R, 26 ; 777, V), named after 
Caron de Beaumarchais (1732-99), the author, who owned a consider- 
able part of the E. side of the street, the last of the Great Boulevards, 
is also the longest (820 yds.). 

At No. 99 (Rue St. Claude 1) is the house where the famous Cagliostro 
lived (d. 1795). 

The Rue St. Claude, to the right, leads to the church of St. Denia-du-Saint 
Sacrement (PI. R, 26; III), in the Rue de Turenne. The church, in the 
neo-classic style, dates from 1823-35 and contains (in the chapel to the right 
of the entrance) a Descent from the Cross, by Eug. Delacroix, and a fine statue 
of St. Genevieve by Perraud (1868). Paintings in the choir by A. de Pujol. — 
No. 54 in the Rue de Turenne (now a school) was occupied by President 
de Gourgues (1728); No. 58 was the residence of Scarron (d. 1660) and his 
wife, afterwards Mme. de Maintenon (p. 350). At No. 41 is the tasteful 
Fontaine de Joyeuse (1687), dating from the former mansion of that name. 
The court of No. 23, formerly inhabited by Colbert de Villacerf (1740), should 
be noticed. — In the Rue Thorigny (almost opposite the Rue St. Claude) 
is a beautiful house (No. 5) with a grand staircase of 1636. 

The Boulevard Beaumarchais ends at the Place de la Bastille 
(p. 180). — Restaurants in the Eastern boulevards, see p. 20, 



86 



3. From the Western Boulevards to the Louvre. 

The Place Vendome lies about midway between the Vf. boule- 
vards and the Hue de Rivoli (p. 90). It is reached from the Place 
de l'Opera by the broad Rue de la Paix (PI. R, 18; II), which, prior 
to 1814, was called the Rue Napoleon and has long been famous for 
its jewellers' shops and great dressmaking establishments. 

The buildings in the Place Venddme (PL R, 18 ; IT) were partly 
constructed by J. Hardouin-Mansart (1708). The Place was then 
embellished with an equestrian statue of Louis XIV by Girardon, 
and was known as the Place Louis-le-Grand. This statue was 
replaced at the Revolution by a statue of Liberty, and the name of 
the square changed to Place des Piques. In 1800 the erection of a 
column in memory of the soldiers who fell in the first campaigns of 
the Republic was contemplated, but in 1806 the Senate decided for 
the present column in honour of Napoleon I. The Place owes its 
name, which never fell entirely out of use, to a palace erected here 
by Henri IV for his son, the Due de Vendome. In the centre rises 
the — 

Colonne Venddme, an imitation of Trajan's column at Rome, 
142 ft. in height and 13 ft. in diameter. It was designed by 
Oondouin and Lepere, its erection being supervised by Denon. The 
column is constructed of masonry, encrusted with plates of bronze 
(designed by Bergeret) forming a spiral band nearly 300 yds. in 
length, on which are represented memorable scenes of the cam- 
paign of 1805, from the breaking up of the camp at Boulogne down 
to the Battle of Austerlitz. The figures are 3 ft. in height and 
many of them are portraits (reduced model at the Mint, see p. 291). 
The metal was obtained by melting down 1200 Russian and Austrian 
cannons. At the top is a statue of Napoleon in his imperial robes, 
after Chaudet. Visitors are no longer permitted to ascend. 

The vicissitudes of the Vendome Column reflect the political history 
of France. In 1814 the statue of Napoleon was taken down by the Royal- 
ists, and under the Restoration it was replaced by a monster fleur-de-lis 
surmounted by a white flag. The metal was used in casting the equestrian 
statue of Henri IV (p. 260). In 1831 Louis Philippe caused a new statue 
of the emperor, in a greatcoat and three-cornered hat, to be placed on the 
summit, but Napoleon III. replaced this in 1863 by one resembling the 
original figure. The column was overthrown by the Communards in 1871, 
but, as the fragments were preserved, it was re-erected under President 
Mac-Mahon in 1875. 

The street beyond the Place is the Rue Castiglione (PL R, 18 ; II), 
which joins the Rue de Rivoli (p. 90) near the Hot. Continental. 

The first cross-street is the long Rue St. Honore (PL R, 18 ; II), 
to the W. Here , on the left , are the Nouveau Cirque (p. 43) and 
the Church of the Assumption (No. 263 ; sometimes closed), a building 
of the 17th cent., with a somewhat heavy dome. In the cupola is 
an Assumption by Ch. de la Fosse. 

The Church of the Assumption was once the chapel of the convent of 
the Dames de TAssomption (1670), which extended to the 'Orangerie' of 



ST. ROCII. Right Bank 3. 87 

the Tuileries. Secularised in 1793, it was converted into the barracks of 
the 'Cent-Suissea\ — . Farther on, No. 398, is the house of the carpenter 
Duplay, where Robespierre lodged; the last two windows of the entresol, 
on the left at the end of the dark little court, are those of Robespierre's 
apartment. At No. 271, at the corner of the Rue St. Florentin, is the an- 
cient tavern of the 'Saint Esprit', famous under the Revolution, with a 
fine wrought iron grille on which is a representation of the Holy Ghost. 
Retracing our steps, we notice on the left a series of old houses tastefully 
decorated (specially Nos. 266 and 362). On the right, No. 231, the former 
novitiate-convent of the Feuillants (p. 68), with a pediment on the facade, 

St. Koch (PI. R, 18; II), in the E. part of the Rue St. Honore, 
erected in 1653-1740, is the finest religious edifice in the baroque 
style in Paris. It was built from designs by Jacques Lemercier, but 
the facade, with its two rows of Doric and Corinthian columns, was 
designed by Robert de Cotte and executed by his son Jules de Cotte. 

Interior. The vault over the nave is of remarkable width. On the 
pillar to the left of the main portal is a medallion of Corneitte (d. 1684), 
and near it is a tablet in memory of Diderot (d. 1784), both of whom are 
buried in the church. The chapels of the aisles were decorated in the 
early part of the 19th cent, with frescoes, now faded and visible only 
in bright weather. The subjects of the paintings are indicated by the 
names of the chapels; viz., on the left, Chapelle des Fonts, St. Nicolas, 
de la Compassion, Ste. Suzanne, St. Denis, St. Vincent-de-Paul, St. Joseph, 
St. Francois Xavier, and St. Carlo Borromeo; on the right, as we return, 
Chapelle' Ste. Madeleine, Ste. Catherine, Ste. Therese, Ste. Clotilde, Ste. 
Genevieve, of the Apostles, St. Stephen, and Chapelle des Monuments. In 
the 1st chapel to the left: Baptism of Christ, a group in marble, by 
Lemoine.— 4th Chapel: Monument of the Abbd de VEpie (1712-1789), founder 
of the Deaf and Dumb Asylum (p. 330), by Priault. 

The chapels of the ambulatory contain large reliefs by Deseine, represent- 
ing scenes from the history of the Passion. In the Lady Chapel (behind 
the high-altar), added in 1783 but afterwards altered: "Nativity, a group in 
marble by Michel Anguier. — In the Chapelle du Calvaire (door on the left) : 
the Crucifixion, by Duseigneur, Christ on the Cross, by Mich. Anguier, with 
a Magdalen by Lemoine (bearing the features of the daughter of the painter 
Mignard, from whose monument it was taken), and the Entombment, by 
Deseine. — In the last chapel but one, as we return towards the entrance: Mon- 
ument of Charles II de Cre"quy, Governor of Paris (d. 1687), by Coyzevox. — 
Last chapel: Monuments of Marshal Fr. de Cre'quy (d. 1687), of Cardinal 
Dubois (d. 1729), by Quill. Coustou, and of Comte d'Harcourt, Henri de 
Lorraine (d. 1666), by Renard; busts of Mignard (d. 1695), by Desjardins, 
and of the landscape-gardener Le Notre (d. 1700), by Coyzevox; monument 
of the astronomer Maupertuia (d. 1759), by d^Huez, etc. — St. Roch is noted 
for its music (10 a.m. on Sun.). 

It was in the Place in front of St. Roch, extending at that time as 
far aa the Tuileriea Garden, that the Royalists who attacked the Conven- 
tion on 5th Oct., 1795, placed their best battalions. Bonaparte, however, 
by a vigorous attack overwhelmed the soldiers of St. Roch, thus stifling 
the counter-revolution in its birth. His 'whiff of grapeshof has left its 
marks on the pillars and facade of the church. 

The Rue des Pyramides , to the E. of St. Roch, leads on the S. 
to the small Place de Rivoli, with an equestrian statue of Joan of 
Arc, in gilded bronze, by Fre*miet. Beyond this Place is the Rue 
des Tuileries (p. 69). 

Farther to the E. the Rue St. Honore traverses the Place du 
The*atre-Francais (p. 88), skirts the Magasins du Louvre, and ends 
near the Halles Centrales (p. 194), 



88 R. Bank 3. THEATRE FRANQAIS. From the W. Boulevards 

The Avenue de TOpera (PI. R, 18, 21 ; II), which runs due S. 
from the main facade of the Opera, abound-s in handsome and 
attractive shops. It has heen left without trees, so as not to interfere 
with the view of the opera-house. 

The Place du The£te,e-F:rancais (PL R, 21 ; II), at the end of 
the Avenue de TOpera, is embellished with two handsome modern 
fountains by Davioud, with nymphs in bronze by Carrier-Belleuse 
and Moreau, and with a monument to Alfred de Mussel (1810-57), by 
Mercie (1906), representing the poet with the Muse of 'Les Nuits'. 

The Theatre Francais (PL R, 21 ; II), which cannot be said to 
be of imposing appearance, was restored by Guodet after the fire of 
March 8th, 1900. It has been used for the performances of the 
Comedie Francaise since 1799, but existed previously (since 1787) 
under the name of Varietes-Amusantes. The entrance under the 
portico is adorned with large medallions in marble of Moliere, Racine, 
Corneille, and Victor Hugo, by D. Puech; and on the wall to the left 
of the S. entrance to the Palais-Royal is a bust of G. Laroumet 
(1852-1900), the author, by Paul Boussel (1906). 

Most of tie sculptures which it contained were saved from the fire. 
In the Vestibule are statues of Talma, the tragedian (d. 1826), by David 
<f Angers, of the celebrated actresses Rachel (d; 1858,), as 'Phaedra'', and Mars 
(d. 1847), as 'Celimene 1 (in Moliere's 'Misanthrope'), by Buret, and of George 
Sand (d. 1876), by J. CUsinger. Staircase: Gobelins tapestry, representing 
the Crowning of Moliere, after /. Blanc; Zaire, by Claude and Galland; 
Iphigenia, by Boucet and Galland. Then, busts of C. Delavigne and Chenier, 
by Bavid <T Angers ; *~Duma,s the Elder, by Chapu; Diderot, by Lescome" ; Balzac, 
by Vasselot; Musset, by Mezzara; Dumas the Younger; and Emile Augier. In 
the foyer: Bust of Victor Hugo (to the left as we enter), by Dalou; the ceiling- 
painting, Triumph of Truth, by the younger Bubufe; *Statue of Voltaire 
(d. 1778), by Houdon (1781) ; chimneypiece with a relief representing comedians 
crowning the figure of Moliere, by Lequesne; and busts of celebrated French 
dramatists by Houdon, Gaffieri, etc. The four caryatides to the right and 
left of the stage are by Thomas. The curtain, painted by E. oTEspoui and 
Calbet, represents a corner in the Park of Versailles. 

The theatre possesses a collection of furniture and other objects which 
belonged to Moliere and other dramatic authors and actors, and a library 
containing autographs of Talma, wreaths presented to actors, etc., but 
neither is open to the public. 

The Theatre Francais forms the S.W. wing of the Palais-Royal. 

The Palais-Boyal (PL R, 21 ; //), historically one of the most 
interesting buildings in Paris, is formed of two quite distinct parts : 
the Palace properly so called, and the Garden surrounded with Gal- 
leries, behind. 

The palace was erected by Cardinal Richelieu in 1629-36, from designs 
by /. Lemercier. and named the Palais- Cardinal until 1643. Richelieu, who 
died there in 1642, bequeathed it to Louis XIH, and it was occupied by 
Anne of Austria with her two sons, Louis XIV and Philip of Orleans, 
then in their minority. Since then the building has been called the 
Palais -Royal. It was subsequently enlarged by Fr. Mansart. Louis XIV 
presented it to his brother Duke Philip of Orleans, whose son, Philip of 
Orleans (d. 1723), regent during the minority of Louis XV, afterwards 
indulged here in his notorious orgies. After the burning of the opera- 
house in 1763 some large new buildings, chiefly on the side next the 
Place du Palais - Royal , were erected by P. L. Moreau, the architect. 



to the Louvre. PALAIS-ROYAL. Right Bank 3. 89 

Philippe Egaliti, grandson of the regent, led a scarcely less riotous and 
extravagant life than his grandfather, and in order to replenish his ex- 
hausted coffers caused the garden to be surrounded with houses, which 
he let to professional gamblers, shopkeepers, etc. The cafe's on the ground- 
floor soon became a favourite rendez-vous of democrats and malcontents. 
It was here that Camille Detmoulins (1760-94) called the populace to arms on 
12th July, 1789, two days before he led them to the capture of the Bastille 
(p. 180). From 1801 to 1807 the palace was the seat of the Tribunate, which in 
1804 conferred imperial hereditary rights on the Consul Napoleon Bonaparte. 
In 1815 the Orleans family returned thither and remained until 1848. Under 
the Second Empire Prince Jerome Napoleon, the former King of Westphalia 
(d. 1860), and his son. Prince Napoleon, resided here. In 1871, the Com- 
munards set the Palais-Royal on fire; since its restoration it has been 
occupied by the Conseil cPEtat. 

Except on the S. side, the Palais-Royal is surrounded by houses and 
is entered by unobtrusive passages. Entering from the S., we cross the 
palace-courtyard and enter the Galerie d' Orleans, in which is situated 
the French Colonial Office, with a small commercial museum (daily 
2-5, except Sun., Mon., and holidays). Beyond this Galerie is the 
Garden, a promenade scantily shaded by a quadruple row of small 
trees, with a circular basin of water and a couple of flower-beds. It 
is embellished with sculptures, viz., from S. to N., Statue of Camille 
Desmoulins (see above), by Boverie (1905); Eurydice bitten by a 
serpent, by Nanteuil; Mercury, by Cugnot; Snake Charmer, by Tha- 
bard; Boy struggling with goat, by Lemoine; the Versailles Diana, 
after the antique; and a Youth bathing, by Espercieux. Up to the 
time of the second Empire a constant stream of people coming or 
going from the Cite (p. 259) to the "W. boulevards passed through the 
garden, which was surrounded with large cafes and handsome shops. 
A few jewellers' and similar shops, in the Galerie de Valois and the 
Galerie de Beaujolais on the E. and N., are still dimly reminiscent 
of the past, but even among these are some 'to let'. The Cafes are 
popular in summer, when a military band plays in the afternoon (see 
p. 44). The chairs are let at 10 c. each ; the benches are free. — At 
the end of the "W. arcade, at the corners of the Rue de Montpensier 
and the Rue de Beaujolais, is the Theatre du Palais-Royal (p. 40), 
of the same period as the Theatre Francais, and originally known as 
'The"atre des Petits Comediens du Comte de Beaujolais'. 



To the N. of the Palais-Royal, in the Rue de Richelieu, is the 
Bibliotheque Nationale (p. 201). 

On the E. the Palais-Royal is skirted by the Rue de Valois (PI. R, 21 ; III). ■ 
Here (Nos. 6-8) is a house ('Hotel Melusine') built by Richelieu, now the 
Boeuf a la Mode restaurant (p. 19), with a handsome gilded balcony. In 
the Rue des Bons-Enfants, parallel with the Rue de Valois on the E., No. 7. 
is the dark Passage Henri IV, constructed under the buildings of the old 
Theatre Moliere. Nearly opposite (No. 186 Rue St. Honore) is one of the 
entrances to the old cloister of St. Honore (interesting courtyard). At No. 19 
the mansion of the Chancellerie d' Orleans (1700), restored by Boffrant, has 
some pretty reliefs of children above the doors in the passage. 

To the N.E. of the Palais-Royal, in the Rue de La Yrilliere (Nos. 
1-3), is situated the Banque de France (PI. R, 21 ; HI), formerly a 



90 Bight Bank 3. RUE DE RIVOLI. From the W. Boulevards 

private mansion (Hotel de La Vrilliere), built by Mansart in 1635, 
restored by B. de Cotte, and subsequently remodelled. It was the re- 
sidence of tbe Princesse de Lamballe, and contains a bandsome 
apartment of tbe 18tb cent, called tbe Galerie Doree, wbicb may be 
visited on application. 

The Bank of France, founded in 1800, is not a state-institution, but, 
like the Bank of England, is a private joint-stock bank, though subject, 
of course, to the control of the government. It has the sole right of issuing 
notes in France. The cellars contain bullion, diamonds, and other valu- 
ables, worth in all several milliards of francs, guarded with the most 
elaborate precautions. — At No. 2 Rue de La Vrilliere is an old house with 
turrets and a spiral balcony. 

For tbe neighbouring Place des Victoires, see p. 207. 



The Place du Palais -Royal (PI. R, 21; II), which faces the 
S. facade of the Palais, invariably presents an animated scene, prin- 
cipally owing to the numbers of omnibuses which traverse it. Almost 
in the centre is a station of the Metropolitain (see Appx., p. 29). 
On the W. side are the Grand- Hotel du Louvre (p. 4), to the E. 
are the Grands Magasins du Louvre (p. 48), and to the S., on the 
farther side of the Rue de Rivoli, is the Ministry of Finance, occupy- 
ing a portion of the New Louvre (p. 93). 

The *Rue de Rivoli (PI. R, 18, 20, 23; //, III, F), one of the 
main arteries of Paris, was begun in 1802, and was so named in 
honour of Bonaparte's victory over the Austrians at Rivoli in 1797. 
It was not completed until 1865, under Napoleon III. Beginning at 
the Place de la Concorde it runs to the E., parallel with the Seine, 
as far as the Rue St. Antoine, which connects it with the Place de 
la Bastille. The houses in the "W. portion of the street (as far as the 
Louvre) are all modelled on the same lines, i.e. with an arcaded 
gallery below and balconies on the upper stories. 

Following the Rue de Rivoli to the E. from the Palais-Royal, we 
observe on the right, beyond the Finance Ministry, the N. facade of 
the Vieux Louvre (see also the historic plan, p. 93). To the left, 
farther on, and partly concealed by the arcades, is the Temple 
de VOratoire, a church erected by the priests of the Oratoire in 
1621-30, but now used as a Protestant place of worship (p. 57). 
A statue of Admiral Coligny, one of the victims of the Night of 
St. Bartholomew (p. 173), by Crank, was erected here in 1889; it 
represents the admiral between Fatherland and Religion. The 
facade of this church is in the Rue St. Honore (p. 87; No. 145), on 
the site of the former Hotel du Boucbage, where Jean Cbatel made 
an attempt on the life of Henri IV. 

At this point the arcades terminate and the Rue de Rivoli is 
intersected by tbe Bue du Louvre (PI. R, 20; III), by which we turn 
to the right. Station of the Metropolitain, see Appendix, p. 29. — 
The remainder of tbe Rue de Rivoli is described at p. 173, and the 
N. portion of the Rue du Louvre at p. 193. 



to the Louvre. ST. GERMAIN-L'AUXERROIS. R. Bank 3. 91 

The S. portion of the Rue du Louvre, which terminates at the 
Seine, passes an open space. To the right we have a good view of 
the E. facade of the Vieux Louvre, with its colonnade (p. 93). In the 
gardens, attheS.E. angle, is an equestrian statue of Velazquez (p. 94). 

Opposite rise the Mairie of the 1st Arrondissement (Louvre) and 
the church of St. Germain-l'Auxerrois. The rose-window in the 
facade of the mairie (built in 1860) is the outcome of an ill-judged 
attempt to make it harmonize with the church. The 'Salle des 
Manages' inside is adorned with paintings by Besnard. The tower, 
which was built merely in order to fill up the gap between the two 
structures, has a chime of bells which plays at 11 a.m. and 4 p.m. 

The church of *St. Germain-l'Auxerrois (PI. R, 20 ; III), founded 
in the 6th century, dates in its present Gothic form from the 
12- 16th centuries. The facade, which is pierced with a rose- 
window of Flamboyant tracery and flanked by two hexagonal turrets, 
is preceded by a porch. When the gate is closed visitors are ad- 
mitted by the right side-entrance. — The signal for the massacre 
of St. Bartholomew (Aug. 24th, 1572; p. 104) was given from the 
little bell-tower of this church, to the right of the transept. 

The Inteeioe, to which, the lowness of the roof gives a depressed 
character, consists of nave and double aisles. — The large chapel to the 
right of the entrance is closed by modern Gothic woodwork, and contains 
a Tree of Jesse, in stone, of the 14th cent., several paintings, and stained 
glass by Amaury -Duval. — The handsome woodwork of the 'banc d'oeuvre 1 , 
or churchwardens 1 pew (in the nave, to the left), was designed by Le Bricn 
and Perrault. Behind is a Gothic screen of carved wood, with the Story of 
Christ and the Virgin. — The marble Basin for holy water in the S. tran- 
sept, is by Jouffroy. The pillars of the choir were converted into fluted 
columns in the 18th century. — The fourth chapel to the right of the 
ambulatory, beyond the sacristy, contains monuments to the chancellor 
Etienne d'Aligre (d. 1635) and his son (d. 1677). The seventh chapel con- 
tains two statues from a mausoleum of the Rostaing family (1582-1645). — 
The *Chambre des Archives, formerly the treasury, which is reached by a 
spiral staircase, is situated above the side - door on the left of the porch 
(apply to the verger, 9.30-11; fee). This is a paved room dating from the 
15th cent., in perfect preservation, with a wooden ceiling and Gothic windows ; 
the cupboards and lamp are of the same period. By the left wall is an 
altar-screen of the 16th century. 

The Rue des Pretres-St-Germain-rAuxerrois, skirting this church on the 
S., leads to the Place de VEcole (PL R, 20; III), on the right. The gabled 
house here (No. 5), with its king-post, dates from the time of Francis I. 

Diverging from the Place de TEcole on the left is the ancient Rue de 
VArbve-Sec (PI. R, 20-, III). The branch of 'La Samaritaine 1 (p. 48) at the 
corner partly occupies the side of the Hotel des Mousquetaires, where d'Ar- 
tagnan (d. 1673), the hern of the 'Trois Mousquetaires 1 , is said to have lived. 

— Beyond the Rue de Rivoli, at the corner of the Rue St. Honore, on the 
left, is a fountain designed by SoufQot in the place of one which used to stand 
(under Francis I.) in the middle of the street beside the Croix du Trahoir, 
an ancient gallowstree. It is ornamented with stalactites and a charming 
nymph by Boizot (an inscription at No. Ill, Rue St. Honore, refers to it). 

— Nearly opposite, Rue St. Honore (p. 86) No. 96, is the site of the house 
where Moliere was born (inscription almost illegible, above the 1st window). 
Farther on in the Rue St. Honore is a row of interesting old houses (Maison 
du Marteau d'Or, No. 54, of the 18th cent., with a large circular balcony). 
Lastly, at No. 33, beyond the Rue du Pont-Neuf, the wine-shop 'A TEnfant 
Jesus 1 has an ancient grille of wrought iron (see p. 24), the design consisting 



92 Eight Bank 4. LOUVRE. History. 

of vine -branches, with the monogram of Christ surmounted by the Child. 
We return thence in 5 min. to the Rue du Louvre, by the Rue St. Honore. 

From the S. end of the Rue du Louvre the Pont-Neuf is visible, 
with the statue of Henri IV (p. 260)$ beyond it rises the dome of the 
Pantheon (p. 283). 

4. Palace and Galleries of the Louvre. 

Metropolitan Station, see Appx. p. 29. — Restaurants, near the 
Louvre, see p. 19. 

The ** Louvre (PI. R, 17, 20; IT), the most important public 
building at Paris, both architecturally and on account of its treasures 
of art, rises between the Rue de Rivoli and the Seine. 

The Louvre perhaps derives its name from an ancient rendez-vous of 
wolf-hunters, known as the Lupara, Lupera, or Louverie. It is tisually 
supposed that Philip Augustus (1180-1223) erected the first castle here; it 
is at any rate certain that when that monarch was constructing the new 
city-walls he built also the massive corner-tower of which the founda- 
tions were discovered in 1885 in the cellar below the Museum of Ancient 
Sculpture (p. 96). The plan and extent of the mediaeval chateau were made 
plain by the excavations of 1885 and are now indicated by a white line 
on the ground in the S.W. corner of the Cour du Louvre. It was not, 
however, until the time of Charles V (1364 -80), who removed his treasury 
and library to it, that the chateau was fitted up in the handsome style 
appropriate to a royal residence. Scarcely a trace of these buildings now 
remains. In 1527 Francis I. (1515-47), an indefatigable builder, tore down 
the old tower and modernized the chateau, and a little later he undertook 
to rebuild it entirely. The growth of the building may be traced in the 
adjoining Historical Plan. The works were directed by Pierre Lescotf, 
one of the greatest architects of the early French.Renaissance period, wbo 
was also retained by Henri II (1547-59) and his successors, until his death 
in 1578. To Lescot is due half the wing to the W. and S. of the -Vieux 
Louvre with its frontage on the Seine, and also the adjacent Pavilion du 
Roi on the S. These ^pavilions' are a distinguishing feature of French 
palaces; they were placed either at the angles or in the centre of the 
facade, and are reminiscent of the mediaeval towers. The rich three- 
storied *Facade in the W. court, the work of Jean Goujon and. Paul Ponce, 
is justly considered the most perfect monument of Francis I.'s time. 

After the death of Henri II his widow, Catherine de M&dicis (d. 1589), 
during the reigns of her sons Francis II. (1559-60), Charles IX (1560-74), 
and Henri III (1574-89), continued the erection of the S. wing, and in 
1566-76 Pierre Charribiges built to her order the so-called 'Petite Galerie', a 
wing originally of one story overlooking the Seine. She next proceeded 
to build the 'Grande Galerie' or Galerie du Bord de TEau, said to have 
been carried out by Thibaut M&tezeau, which was to connect the Louvre 
with the old Palais des Tuileries (p. 69) dating from the same period. 

Henri IV (1589-1610) employed Louis Mdtezeau, the son of Thibaut, to 
add a second story to both the 'Grande Galerie' (extending to the Pavilion 
Lesdiguieres) and the 'Petite Galerie', the execution of the latter work 
being entrusted to Fournier and Coing. This second story forms the present 
Grande Galerie and Galerie d'Apollon. The extension of the gallery to 
the Pavilion de . Flore was also accomplished during the latter part of 
Henri IV's reign (see, however, p. 93). 

Operations on a grander scale were conceived by Louis XIII (1610-43). 
Hitherto the original proportions had been adhered to, the new buildings 
merely replacing the original structures on two sides of the quadrangle. 

t For details regarding the artists, see List at the end of the Handbook. 



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Architecture. LOUVRE. Right Bank 4. 93 

But now the scope of the undertaking was quadrupled. The king's choice 
of architects fell on Jacques Lemercier, and in 1624 he laid the foundation- 
stone of the Pavilion de THorloge, in the centre of the new W. wing. 
The eight caryatides which adorn it were executed by /. Sarazin. The 
"W. wing was completed by Lemercier, who also began the N. wing. 

Under Louis XIV (1643-1715) Louis Levau (d. 1670) succeeded Lemercier 
in 1659; he rebuilt the Galerie d'Apollon after its destruction by fire in 1661. 
Various architects, among them Bernini, who was summoned from Rome, 
were consulted as to the design of the great E. facade. Eventually the 
work was entrusted to Claude Perrault, a physician, whose imposing 
^Colonnade, consisting of twentyreight Corinthian columns in pairs, is 
scarcely in keeping with the older parts of the edifice. Perrault designed 
also the facade looking towards the Seine. In 1676 the work was suspended. 
and soon afterwards was almost entirely abandoned. The 'Grand Monarque' 
had lost interest in everything but his palace of Versailles. His successors, 
too, preferred Versailles or the Tuileries to the Louvre. 

The completion of the Louvre was not seriously resumed until 
Napoleon I. came to the throne. In 1805 he ordered a thorough restoration 
of the edifice, and commanded his architects, Percier and Fontaine, to con- 
struct a N. connecting-gallery between the Tuileries and the Louvre. This 
wing had been completed as far as the Pavilion de Rohan (see below) 
when the Emperor was deposed. In 1848, after another period of inactivity, 
the original plan of connecting the Louvre and the Tuileries was once 
more proceeded with. On July 25th, 1852, Napoleon III. undertook the 
erection of the new buildings, employing for the purpose Visconti (d. 1853) 
and then Le/uel, who completed the N. gallery in 1857, at a cost of 
36 million francs (840,000 ?.). Finally, the S. gallery (next the Seine), 
greatly enlarged and, in its W. portion, entirely remodelled, was completed 
(1863-68). The latter 1 s rich but somewhat heavy facades, with their pro- 
jecting domed pavilions, their Corinthian columns, their porticos and 
caryatides, their 86 statues of celebrated Frenchmen, and their 63 groups 
of allegorical statues, harmonize with the Vieux Louvre in their general 
arrangement only. — All these buildings taken together constitute the 
largest and most splendid palace in the world, embracing a superficial 
area of about 45 acres, or three times as much as the Vatican including 
St. Peter's. They consist of two main divisions: the Vieux Louvre, the 
four wings of which enclose the large E. court, and the Nouveau Louvre, 
comprising the two palaces on the N. and S. of the Square du Louvre and 
the wings extending to the pavilions of the Tuileries on the W. 

The N. wing of the New Louvre is occupied by the Ministere des 
Finances^ all the other portions are nsed, or are about to be used, 
for the national collections. 

A pleasant stroll, before or after visiting the Galleries, may be enjoyed 
in the Jardin des Tuileries. The magnificent vista of the Place de la Con- 
corde and the Champs-Ely sees (see p. 71) is well seen from here. A walk 
along the Quai du Louvre, whence the facades on the S. of the Louvre 
can be seen, should also not be omitted. The central portion, the palace 
built by Catherine de Medicis in 1556-76, is the finest, embodying as it 
does all the charm of the early French Renaissance. The W. wing, too, 
towards the Pavilion de Flore (p. 69), has preserved features dating from 
Henri IV's time, in spite of the alterations which it underwent at the 
hands of Napoleon IH. The passage connecting the two blocks between 
the Place du Carrousel and the Pont du Carrousel was constructed under 
Napoleon III. Flanking the entrance opposide the Pont des Saints-Peres 
are colossal statues symbolising the Mercantile Marine and the Navy, by 
Jouffroy: above, the Genius of the Arts, a bronze figure by Mercie", in high- 
relief. The entrance on the opposite side, in the Rue de Rivoli, facing the 
Rue de Rohan , is under the Pavilion de Rohan, the gilded facade of which is 
adorned with eight statues of generals, including that of Marceau, by /. Thomas. 

The small gardens on the outside of the Vieux Louvre are adorned with 
monuments of artists. To the left, in front of the colonnade, is an eques- 



94 Right Banlc 4. LOUVRE. Galleries. 

trian statue of Velazquez (1599-1660), byFremiet; farther to the left is the 
monument of Fr. Boucher (1703-70), by Aube\ then that of Raffet (1804-60), 
with the drummer from his 'Review of the Dead 1 , by Fre"miet; and 
beyond that is a fine monument to Meissonier (1815-91), by Mercie. — 
Below the first window on this side, coming from the garden, is a hand- 
some gilded balcony with the monogram of Louis and Anne of Austria. 
Near it was the window whence Charles IX is said to have fired on the 
Huguenots on the Night of St. Bartholomew. 



THE **GALLERIES OF THE LOUVRE. 

The Louvre Collections are open gratis to the public daily, except 
Mondays, New Year's Day, Ascension Day, July 14th (Fete National e), 
and, unless they happen to fall on a Sunday, Assumption (Aug. 15th), All 
Saints (Nov. 1st), and Christmas Day. On exceptionally foggy days in 
winter also the galleries are closed. On Thurs. they are not open until 
noon. The picture and sculpture galleries are open in summer (April 
1st -Sept. 30th) 9 a.m. -5 p.m. on week-days, and 10-4 on Sun. and holidays; 
in winter daily 10-4; the other collections and the rooms on the second 
floor from 11 to 4 or 5. The only exceptions to this rule are the Gallery 
of Casts {Salle des Moulages, p. 96), which is open only on Tues. and Sat. 
1-4 or 5 p.m. ; the Salle du Mastaba (p. 163) and Galerie de Morgan (p. 169), 
which are open only on Wed. and Sun. 1-4 or 5 p.m.: the Collections of 
Antique Bronzes (p. 152) and Modern Sculptures (pp. 103, 112), which are 
not open until 12-30 p.m. in winter or 1 p.m. in summer; and the Collec- 
tion Grandidier (p. 168), which is not open till 1 p.m. 

The best time for visiting the galleries is as early as possible in the 
morning, as they are often crowded in the afternoon, particularly on Sun- 
days. — Overcoats, sticks, and umbrellas may be left in the vestiaires at 
the principal entrances (fee optional). Visitors should notice where their 
belongings are placed. Ten minutes after closing-time all articles not 
claimed are taken to the jfoot of the Escalier Henri H (not the grand 
staircase). — Conveniences for the use of visitors are to be found off the 
Galerie Mollien and RR. VII and IX of the picture-gallery (comp. Plans); 
keys kept by the custodians. 

Persons desiring to copy in the Louvre or Luxembourg apply to the 
Administration det Sfustes, the office of which is in the S.W. angle of the 
court of the Vieux Louvre (PI. M). The conditions and regulations are 
posted up in the various galleries. 

The director of the National Museums is M. Homolle, the well-known 
archaeologist. Departmental keepers : MM. H6ron de Villefosse (Greek and 
Roman Antiquities), Pierret (Egyptian Antiquities), Leprieur (Paintings, 
Drawings, and Engravings), Heuzey (Oriental Antiquities and Antique 
Pottery), Michel (Mediaeval, Renaissance, and Modern Sculpture), Migeon (Ob- 
jects of Art), and Destrem (Ethnographical and Marine Collections). 

The history of the **Louvre Collections dates from the time of the 
French monarchs of the Renaissance of the 16th cent., who were not only 
intimately connected with Italy in their political relations , but paid 
enthusiastic homage to Italian culture. Foremost among patrons of art 
and collectors was Francis I. He summoned several Italian artists to his 
court, and it was an open secret that the way to gain his favour was to 
beg his acceptance of some work of art. More than once he essayed to 
enlist the services of Michael Angelo and he cherished the desire of forming 
a collection of casts of antique masterpieces. His efforts, however, were 
but partly successful. It was not until the accession of Louis XIV, whose 
ambition it was to shine in every sphere, that it became the fashion both 
with persons of the highest rank and members of the middle class (like 
Crozat), to make collections of treasures of art. The royal collections, 
known collectively as the 'Cabinet du Roi', which included even at the 
beginning of the 17th cent, a number of very valuable pictures, was en- 
riched by the addition of 617 paintings and 60U0 drawings, acquired princi- 



Galleries. LOUVRE. Bight Bank 4. 95 

pally through the purchase of collections belonging to Cardinal Mazarin and 
the Danker Jabach. In 1710 the oil-paintings numbered 2403. The Revolution 
converted the Louvre into a museum, and it was thus that the idea of 
centralising the art collections of the country took shape. Various treasures 
distributed throughout the royal palaces, in churches, and in the suppressed 
monasteries were united here, and the museum was opened in 1793. At 
length, when the French armies returned to Paris from Italy, the Nether- 
lands, and Germany, laden with treasures of art, the Louvre Collection 
became par excellence the museum of Europe and was so celebrated under 
the name of the 'Musee Napole'on' that the Allies in 1814 did not venture 
to restore its treasures to their former owners. The act of restitution was, 
however, performed in 1815, but many fine paintings and statues still 
remained in Paris, and the collections of the Louvre can still boast of 
being the most extensive and valuable on the continent. They have 
moreover constantly been increased by purchases, such as those of the 
Tochon and Durand collections of antique vases, in 1818 and 1825, and of 
the Collections Revoil (1828) and Campcma (1862; 200 Italian paintings and 
numerous antique vases);, and by gifts and bequests, like those of Sauvageot, 
Thiers, Davillier, Lenoir, Grandidier, and specially La Gaze (1809; 275 pict- 
ures). In 1902 the Alfred de Rothschild Donation (p. 157) was installed here ; in 
1903 the Thomy-ThUry Collection (p. 165); and in 1905 the Salle du .Mastaba 
(p. 168) and the Galerie de Morgan (p. 169). 

The rooms of the Louvre are so numerous that it takes 2 hrs. to 
walk through them all without stopping. The visitor should par- 
ticularly note that the Ground Floob contains the Sculptures and the 
Engravings ; the Fibst Floob the Pictures, the Smaller Antiquities, 
the Mediaeval, Benaissance, and Modern Art Objects, the Furniture 
of the 17th and 18th Centuries, the Drawings, and various small 
collections ; the Second Floob the Thomy-Thiery Collection (paintings 
and bronzes), the continuation of French Paintings of the 19th 
Century, the Musee de Marine, the Musee Ethnographique, and the 
Musee Chinois. 

Visitors who have only a short time to devote to the Galleries 
should begin with the Antique Sculptures (p. 96) and the Pictures 
(p. 117), which are the first to be opened (see p. 94). It will save 
time to adhere closely to the following order of proceeding through 
the rooms, though it should be borne in mind that changes in the 
arrangement are not infrequent. 

The Pavilion de Flore (p. 69) is about to be vacated by the Colonial 
Office in favour of the museum, and the large number of new rooms 
which will then be available will inevitably entail extensive rearrange- 
ments. A number of less important paintings will be transferred elsewhere 
(comp. p. 354), and various works will be brought from the Luxembourg 
(p. 315) to the Louvre. 

Entbancbs. Most of the Galleries (see the enumeration at pp. vii, 
viii) have special entrances, which are shown on the Plans and 
which we indicate where necessary. The Principal Entrance, leading 
to the Gallery of Antique Sculpture and to the First Floor (Picture 
Gallery), is in the Pavilion Denon (PI. G, groundfloor), in the court 
of the New Louvre, on the side next the Seine. The descriptions 
at pp. 96 and 117 begin here. 

The Foundations of the Old Louvre (p. 92) are shown onion., 1-3 p.m., 
to visitors provided with tickets, for which previous written application 
must be made (enclosing a stamp for the reply) to the Secretariat des 



96 Right Bank 4. LOUVRE. Ground Floor: 

Musees Nationaux (Cour du Louvre). The visit, which lasts 1/2 hr., begins 
and ends at the Salle des Cariatides and extends as far as below the Salle 
de la Venus de Milo. Gratuity to the guide. 

A. GROUND FLOOR. 

The ** Collection of Ancient Sculpture (Musee des Marbres An- 
tiques), though inferior to the great Italian collectjpns, boasts a 
number of works of the highest rank. We mention only the most 
important sculptures. 

The brief official catalogue of the antique sculptures (comprising over 
3000 Nos.), by A. Hiron de Villefosse, with illustrations and indexes (1896), 
costs 1 fr. 85 c. The numbers appear on the left side of the sculptures, 
but are sometimes lacking. It may also be noted that the labels give the 
origin of the specimens in large letters in the first line, not the subject of 
the sculpture. Frequent changes. 

In the Vestibule Denon is a cloak-room (optional; comp. p. 94). 
— To the right is the Galebie Mollten (XXVIII), which contains 
reproductions in bronze of antique statues, executed in the 16-18th 
centuries at Fontainebleau and Rome, ancient statues, more or less 
mutilated, antique sarcophagi, etc. At the end is a staircase ascend- 
ing to the French department of the Picture Gallery (PI. K; see 
p. 139). 

Opposite the entrance, to the left, is the Salle des Moulages, containing 
a collection of casts for the use of students (hours of admission, see p. 94). 
This room was the riding-school of the Prince Imperial under the Second 
Empire. Visitors may proceed through this room (when open) to the 
Ghalcographie and the Collection Grandidier (p. 168), and thence via the 
Quai du Louvre (turning to the right) to the Salle du Mastaba (p. 163) and 
Galerie de Morgan (p. 169). 

We turn to the left in the vestibule and enter the — 

Galebie Denon (XXVI), where bronze copies from the antique 
(see above), sarcophagi, and mutilated antiquities are exhibited. 

Sarcophagi. On the left, 341. Cupids forging their arms; 438. Tritons 
and Nereids; 490. Prometheus creating Man; 85. Apollo and Marsyas; no 
number, Combat of Amazons ; three sarcophagi (no numbers) : Phaedra and 
Hippolytus, Daedalus and Pasiphae, and Death of Meleager. On the right 
(as we return), 1335. Selene andEndymion; no numbers, Myth of Acteeon; 
Scenes from the life of Achilles ; 475. The Muses (on the lid, Banquet ; right 
side, Muse with a philosopher or poet; left side, Muse with Socrates) ; 1346. 
Bacchus and Ariadne; 439. Tritons and Nereids. 

We next reach the Escalieb Dabu, or Grand Escalier, which 
ascends to the Picture Gallery (p. 117). 

The Salle d'Afeique (XXV), to the right of the staircase, 
contains Antiquities from Northern Africa, including sculptures, 
numerous inscriptions, fine mosaics, Roman lamps, etc. In the 
centre, Draped female figure (Cyrene) ; 1888 (left, under glass), Bust 
of Ptolemy, King of Mauretania; 1783. Head of Medusa in profile 
(admirable Greek work); 1838 (entrance- wall, to the right), Relief 
with three Elements : Heaven, Earth, and Water (found at Carthage); 
a nearly similar relief, from the Ara Pacis (see p. 98), is preserved 
at Florence. Mosaics (no numbers) : opposite the 2nd window, Ser- 
vants preparing a feast (Carthage) ; almost opposite the 3rd window, 



iUSEES || LOUVRE. 






1 # 2 ? , , 3 ,° *? fWrtrr-! 






REZ-DE-CHAUSSEE 






A. Entree des salles des anfiquites 


G. Entree des musee® du lTetuge> 


egyptiennes . 
B .Entree des salles desardiquites 


et des marores antiques. "~ L 










H . E seedier des vnusees d'antupdtes 


asiatiques. 


egyptiennes etgrecques,etc. 


C . Entree die musee desnuxrbres 


I . Escalier du musee du Hoyeji- 


(mtufUies , arecs et romains. 


Age et de la Renaissance, etc . 


D . Entree, du musee- des sculptures 


J . Escalier ffenri IT f collection la \ 


duMbjen-Age et, de laEenaiss. 


Caze, musee de peurhcre, etc.) . 




E .Entree dec musee des scidp- 


E . Escalier des gaieties iraneaises 




txres modernes. 


et sortie de la Grande Valerie-. 




F .Untree de la> Clialcdqrapliie et 


L . Du'ectiow des no/sees nationazuc. 




de. la collection Grandidier. 


M. Bureaujc de I' administration. ) 


IS. Escalier Eenri IT, sot 


tie quand il y a fbuZe. 







Nota.-jCar salles indiquees iei a gauche surle quai ne sont 
pas au rez-de-chaassee , mais a une sorle de second entresol, 
sousla Grande Galerie . 



5 favulflll Mollien 



PaTiLLcm Denan. 
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PaviUonDarii 




Ancient Sculptures. LOUVRE. Right Bank 4. 97 

Triumph of Neptune and Amphitrite (Constantine). — We now 
descend either side of the staircase. On the left side : 1339. Tutor and 
Niobid, freely restored (from Soissons). Below the staircase is the — < 

Salle des Prisonniers Barbares (XX), in which are collected 
inscriptions, reliefs, sculptures in coloured marble, etc. 1056. Seated 
figure of Minerva, restored as Roma, in red porphyry, the flesh-parts 
in bronze gilt (modern) ; to the left, No number, Minerva, in oriental 
alabaster; 1381, 1383, 1385. Statues of captive barbarians; 1354. 
So-called African fisherman, in black marble, wrongly restored as 
Seneca; 438. Porphyry bath; 1389. Chair in red marble. In the 
middle is a large Roman mosaic with rustic scenes and occupations. 

Rotonde (XIII), the 1st room looking on to the court, with fine 
decorations in stucco by Michel Anguier (1653) and ceiling-paintings 
by Mauzaisse, representing the Creation of Man. In the centre, *866. 
Borghese Mars (formerly called Achilles), in Pentelic marble. Also 
(temporarily, see p. 99), *736. Metope from the Parthenon. In the 
first window -niche, fine archaistic Greek reliefs. By the central 
window, 672. Borghese Tripod-Base, called also Altar of the Twelve 
Gods, archaistic, with representations of the gods, the Pates, the 
Graces, and the Hours. In front, to the right, 884. Archaic Apollo; 
to the left, 889. Statue of a pugilist (archaic). By the next window, 
So-called Astrological Altar from Gabii, with the heads of the 
twelve Olympian deities and the signs of the zodiac. At the entrance 
to the Salle Grecque, 867. Female head, a Greek original of the 
Phidian age; 931. Head of Ares (Mars). 

By the entrance to the room on the right (XIY), *922. Silenus 
with the Infant Bacchus, known as the 'Faune a l'Enfant', of the 
end of the 4th cent. B.C., perhaps after Lysippus. 

This is one of the most attractive of those representations from the satyr 
world which were so much in vogue during the later period of Greek art. 
The guardian seems to be pacifying the child by his looks and kindly 
gestures, while the child smiles to him and raises his left hand caressingly. 
An air of perfect repose and content pervades the whole group, and 
the effect is enhanced by the admirable ease and finish of the execution. 

To the right of the Silenus, 919. Roman portrait-head of an 
old man. 

Turning to the right we now enter a suite of apartments in the 
wing erected by Catherine de Me'dicis (p. 92). The archway leading 
to the first room is embellished with a relief by Chaudet, represent- 
ing Painting, Sculpture, and Architecture. 

Salle db Mecene (XIV; formerly so called), with ceiling-paint- 
ings by Meynier and Biennoury (the World receiving from Hadrian 
and Justinian laws dictated by Nature, Justice, and Wisdom). Roman 
reliefs. In the middle, reconstruction of a large altar which stood 
in front of a temple of Neptune at Rome (built about 35 B.C.). The left 
side only, with a relief of the sacrifice of the Suovetaurilia, is an- 
cient; the other three sides are casts from the frieze of the bridal 
procession of Poseidon and Amphitrite in the Glyptothek at Munich* 

Baedeker. Paris. 16th Edit. 7 



98 Bight Bank 4. LOUVRE. Ground Floor: 

By the second window to the left, 1088. Procession of seven adults 
and two children, a fragment of the Ara Pacis erected by Augustus at 
Rome in B.C. 13-9 (other fragments at Rome and Florence). 

The next four rooms chiefly contain sculptures of the Roman 
imperial epoch and are comparatively unimportant. The ceiling- 
paintings, however, are noteworthy. 

Salle des Saisons (XV), with ceiling by Romanelli (1617-62; 
Diana with Apollo, Action, and Endymion ; Apollo, Marsyas, and 
the Muses; the Seasons). In the centre, 1121. Statue of Julian the 
Apostate, in marble (found at Paris, see p. 280). To the right, 1021. 
Bust of Constantine the Great (?). 1023. Mithras, the Persian god of 
the sun, slaying a bull (found at the Capitol). 

Salle dela Paix (XVI), with ceiling and spandrels by Romanelli 
(Peace as the fruit of War; Peace and Agriculture). Door of 1658. 
In the centre, 1075. Statue of Mammaea, mother of Alexander Se- 
verus, as Ceres. — The eight granite columns at the entrance and 
exit of this room belonged to the part of Aix-la-Chapelle Cathedral 
built by Charlemagne and were brought to Paris in 1794. 

Salle de Severe (XVII), decorated by Romanelli (Poetry and 
History celebrating the warlike fame of Rome; Rape of the Sabines; 
Continence of Scipio; Cincinnatus; Mucius Scaevola). Extensive 
collection of busts of Roman emperors and empresses from Corn- 
modus to Caracalla, identified with the help of coins and medals. In 
the middle, 1009. Roman married pair in the characters of Mars and 
Venus. To the right of this group (no number), Bust of Antinous 
(see below ; the face partially restored). By the first window to the 
left, 996. Colossal head of Caracalla, found in Macedonia. 

Salle des Antonins (XVIII). In the middle, 1133. Colossal 
statue restored as Marcus Aurelius. In front of it, *1205. Colossal 
Bust of Antinous in the character of Osiris (from the Villa Mondra- 
gone, near Frascati). Antinous, the favourite of Hadrian, was deified 
after drowning himself in the Nile. The expression of the youth is 
grave and pensive; the holes in the serpentine crown and the fillet 
were for the insertion of the divine attributes. To the left, 1171. 
Colossal head of Lucilla, wife of Lucius Verus, found at Carthage in 
1847. Here also are statues of Trajan, Hadrian, Antoninus Pius, 
Marcus Aurelius, iElius Caesar, Lucius Verus, etc., and numerous 
busts (several repetitions). — The ceiling-paintings of the first 
division, by Romanelli, represent Religion and the Theological 
Virtues, Genii, Judith, Moderation, Prudence, etc. Those of the 
second division are the French Hercules, by Hennequin; Victory and 
the Arts, by Lethiere ; Esther and Ahasuerus, by Romanelli ; Study 
and Fame, by Peyron, etc. — To the right is the — 

Salle d'Auguste (XIX). Busts and statues of the early Roman 
emperors are exhibited here. In the middle row, *1204. Head of a 
Hellenistic Ruler (probably Antiochus III. ; not Julius Ciesar) ; 1003. 



Ancient Sculptures. LOUVRE. Right Bank 4. 99 

Colossal bust of Maecenas. — *1207. Roman Orator as Mercury, 
formerly called Germanicus or Julius Caesar. It bears the name of 
the sculptor Cleomenes of Athens (on the tortoise at the foot) and 
dates from the revival of Greek art under the early Roman emperors. — 
1208. Bust of Agrippa; 1209. Colossal bust of Roma, with Romulus 
and Remus on the sides of the helmet, each suckled by a she-wolf. 
In the middle of the end-wall, in a niche, *1212. Statue of Augustus, 
with finely executed draperies; in front, 1210, 1211. Two Young 
Romans with the Bulla (a gold medallion worn by young patricians). 
Along the sides of the hall, Statues and busts of the Julian emperors 
and empresses; some of the female heads are executed with great 
delicacy. — This room was decorated in the reign of Napoleon III. ; 
ceiling by Matout (Assembly of the Gods). 

We now return to the Rotonde (p. 97), whence we enter the 
other rooms to the right. 

The *Salle Gbecque, or Salle de Phidias (XII), contains works 
of the culminating period of Greek plastic art and of that immediately 
before and after it (5th cent. B.C.). Everything here is worthy of 
careful inspection, though for the most part sadly mutilated. 

During the restoration of this room (1907) some of the sculptures have 
been temporarily removed to the Rotonde (p. 97) and Rooms III and V (p. 101). 

In the centre, three mutilated statues, in the archaic style: 
*686. Juno, from Samos. This statue, of which the head is missing, 
illustrates the primitive type of idols, which were at first carved in 
wood, with the arms close to the body, the lower portion being barely 
more than a round column. The folds of the drapery alone impart 
a little life to the bust oi this rigid figure. An inscription on the front 
names Cheramyes as the donor. 687, 688. Two male torsos (6th cent. 
B.C.), found in the shrine of Apollo at Actium, both in the style of 
the so-called archaic statues of Apollo, i.e. a youth (ephebos) standing 
up, with left leg advanced. — Adjoining, under glass, 691. Head of 
Apollo (after an original of the 5th cent. B.C.); 695. Archaic head, 
with wreath and traces of colour (6th cent. B.C.). 

*696. Three Reliefs from the Island of Thasos, found in 1864. 

These three reliefs originally formed one whole, which, as we learn 
from the ancient inscriptions, belonged to a sanctuary sacred to Apollo, the 
Charities (Graces) , and the Nymphs. The inscription in larger letters at 
the top is of later origin, and refers to the use of the reliefs in adorning 
a tomb in the Roman period. From each side of the central niche step 
four goddesses, holding garlands and blossoms in their hands; those on 
the left are accompanied by Apollo, those on the right by Hermes. In 
form and movement the stiffness and angularity of the archaic school are 
still visible, but the vitality and variety of the motives, as well as the 
fine arrangement and execution of the drapery, betoken the period of 
transition to a more perfect style. The work thus probably dates from 
the end of the 6th or the beginning of the 5th cent. B.C. 

*738. Fragment of the Frieze of the Parthenon on the Acropolis 
at Athens, executed by Phidias and his pupils. 

The frieze, which ran round the walls of the temple within the colon- 
nade , represents the festive procession which ascended to the Acropolis 

Lore T * 



100 Eight Bank 4. LOUVRE. Ground Floor : 

after the Panathensean games for the purpose of presenting the goddess 
with the peplos, or robe woven and embroidered by Athenian virgins. 
The rest of the reliefs are in London and Athens. The fragment preserved 
here represents young Athenian girls with vessels, and two priests, advan- 
cing in solemn procession. 

*736. Metope from the Parthenon (much mutilated), representing 
a Centaur carrying off a woman, probably by one of the pupils who 
assisted Phidias in the decoration of the Parthenon. — To the right 
and left, 716, 717. Hercules subduing the Cretan Bull, and bring- 
ing to Athena one of the Stymphalian birds, two metopes from the 
Temple of Zeus at Olympia (ca. 460 B.C.; excavated by the French 
in 1829). Other fragments of this temple (found by the Germans in 
1875-81) are now in the museum at Olympia. Compared with Attic 
sculptures, these works are somewhat deficient in grace, but they 
are full of freshness and vigour. 

*854. Attic relief (dating from shortly after Phidias) of Hermes, 
Orpheus, and Eurydice, an admirable example of the simple and 
yet majestic style of the best period of Greek art. 

'Orpheus was permitted to bring back his wife Eurydice from the 
infernal regions to the light of day on condition that he should not look 
at her on the way; but he failed to fulfil the condition. Hermes, the 
leader of the dead, gently but firmly grasps the hand of Eurydice to con- 
duct her back to the empire of shades. In this simple and beautiful com- 
position are traceable a whole series of different phases of hope and pain. 
The advance of the procession, the turning round of Orpheus , the confi- 
dential communing of the pair, the halt, and the impending return of 
Eurydice are all distinctly portrayed 1 . KikuU. — There are replicas of 
the work at Naples and Rome. The inscription 'Zetus, Antiope, Amphion'' 
over the figures is of the Renaissance period. 

*766. Tomb Relief of Philis, daughter of Cleomedes, from Thasos. 

The deceased is here represented, as was the custom on Attic steles, 
in a scene of daily life, with a jewel-case in her hand. A peculiar charm 
is lent to this relief by the faint lingering characteristics of archaic Greek 
art and by the simple and natural feeling of the representation. 

701. Tomb-relief of two girls with flowers (from Pharsalus). 

This work stands on the border between the archaic and the developed 
style. It is marked by a tender and naive naturalism, but is inferior in 
delicacy of execution to contemporary Attic works. 

697. Archaic relief from the arm of a throne, with Agamemnon 
and his heralds, Talthybius and Epeius (from Samothrace). — Glass- 
case containing fragments from the temple at Olympia (ca. 
460 B.C.). 855. Torso of a youthful hero, formerly called Alexander 
the Great or Inopus (a river-god on the island of Delos, where the 
statue was found). 692. Head of Apollo. To the right of the entrance, 
831. Marble Stele, brought from Athens by Choiseul-Gouffier, with 
one of the most ancient Greek inscriptions in the Louvre. It records 
the sums spent by the treasurers of the Parthenon in the archonship 
of Glaucippus (410 and 409 B. C). Above, Athena, the sacred olive- 
tree, and a representative of the Attic people; on the walls, votive 
bas-reliefs. 857. Lion pulling down a bull. 765. Fragment of a 
sepulchral couch, found in Macedonia. Funeral bas-reliefs. 

On the side next the court: 850. Head of a youth (from Cos); 

3* 



Ancient Sculptures. LOUVRE. Bight Bank 4. 101 

848. Bust of a veiled woman (so-called Aspasia) ■ 847. Athena from 
Crete (perhaps a copy of a statue by Alkamenes, a pupil of Phidias); 
830. Head of a Greek athlete, called Theseus ; 829. Female figure 
(not a daughter of Niobe). 

Paintings on the ceiling and walls : Diana and Jupiter, by Pru&hon ; 
Hercules receiving from Diana the stag with the golden horns, by Gar- 
nier; Diana bringing Hippolytus, resuscitated by iEsculapius, to Aricia in 
Italy, by Mirimie. Sculptures : Bas - reliefs by Cartellier, Espercieux, and 
Foucou. 

"We proceed in a straight direction, leaving the Salle des Cari- 
atides (p. 104) on the left, and the Salle du Tibre (p. 103) on the right. 

Cobridor de Pan (II), rather dark. To the right, between two 
columns : 266. Sitting figure of Pan, of poor workmanship and freely 
restored. 

Salle du Sarcophage de Medee (III), so called from a sarco- 
phagus which used to be here. By the wall, 285. Satyr playing with 
a panther, a fine bas-relief in the Greek style. Above, - i! 738. Frag- 
ment of the Parthenon frieze (temporarily; comp. p. 99). 

Salle de l'Hebmaphbodite de Velletbi (IV). In the window 
recess, 323. Hermaphrodite of Velletri (comp. p. 104). 324. Wounded 
Gaul, replica of a statue from one of the group's representing battles 
of Giants, Amazons, Persians, and Gauls, dedicated by Attalus II. of 
Pergamum and placed on the Acropolis at Athens. To the right, 
345. Statuette of Euripides, with a list of his works. 

Salle du Sabcophage d' Adonis (V). By the window, *696. 
Bas-reliefs from Thasos, *766. Tomb-relief of Philis (both tem- 
porarily here; comp. p. 99). This room owes its name to three reliefs 
from the myth of Adonis (No, 347), which are being arranged to 
form a sarcophagus. — In the entrance to the next room, to the left, 
366. Statue of Aphrodite in Coic raiment, probably after Praxiteles 
(inscription on the base). 

Salle de Psyche (VI). To the right, 371. Psyche (freely restored), 
between busts of the youthful Hercules (378; wrongly called Om- 
phale) and Perseus, King of Macedonia (381). To the left, two 
fine maTble chairs. To the right and left of the entrance, 387. Ath- 
lete anointing himself with oil, 375. Victorious athlete (with the 
palm). — At the entrance to the end-room, 398. Venus of Falerona, 
in the same pose as the Venus of Milo. 

Salle de la Venus de Milo (VH), dedicated to (No. 399) the 
** Venus of Milo, the most celebrated of the treasures of the Louvre. 

'How great, how beautiful and noble is this Venus! . . . What a vague 
and divine smile rests on these parted lips; what a superhuman glance is shed 
by this sightless eye! . . . The arms are missing, but it seems as though, 
if they were found, they would be a hindrance to our enjoyment by masking 
the vision of this superb bust and noble bosom. And it was a small island- 
temple that harboured this glorious masterpiece by an unknown sculptor, 
worthy of the greatest period of Hellenic art !' (TMophile Oautier). 

The statue was found in 1820 by a peasant in the island of Melos, 
now Milo, at the entrance to the Greek Archipelago, and sold for 6000 fir. 



102 Right Bank' 4. LOUVRE. Ground Floor: 

to the French government. It is a work of the 2nd cent. B. C, but is 
evidently inspired by the ideas of an older school, contemporary with the 
schools of Praxiteles and Scopas (4th cent. B.C.), though with a very different 
Style from either. 

Venus is supposed to have been holding a shield and gazing at her 
reflection in the polished surface. Among various fragments found with 
the statue were part of a left arm and a left hand, the closed fingers of 
which hold an apple (now preserved in a glass-case by the first window 
to the left) ; and this has naturally led some of the French critics to suppose 
that this Aphrodite (like the Venus of Aries, see below) held an apple in 
her uplifted left hand and her drapery with the right. The fragments in 
question are, however, of inferior workmanship to the torso, so that they 
are probably either altogether unconnected with it, or belonged to an 
ancient attempt to restore the work. 

Salle de la Melpomene (VILI). By the wall at the back, 411. 
Melpomene, one of the largest ancient statnes in existence (13 ft. 
in height), from Rome, and probably from Pompey's Theatre. — 
The large mosaic in front, by Francois Belloni (after Gerard), re- 
presents Minerva (symbolizing the genius of Napoleon), Peace, and 
Plenty. — To the right and left of Melpomene, 420, 414. Statues 
of Venus restored as Euterpe. To the right, by the back-window, 
421. Replica of the head of the Onidian Venus of Praxiteles. To 
the right of the exit, *419. Ideal Female Head. 

Salle db la Pallas de Velletbj (IX). In the centre : *436. 
Bust of Alexander the Great, probably after Lysippus ; *439. Venus 
of Aries, found in 1651 at Aries in Provence, and perhaps a replica 
of an early work by Praxiteles. — **440. Head of Homer (upper 
part of a hermes). 

*441. Apollo Sauroctonus, 'the lizard-slayer', a copy of a work 
by Praxiteles ; the right hand originally held a dart. 

'The easy attitude, the charming abandon of the figure almost femi- 
nine in its forms, the ideal beauty of the countenance, the perfect pro- 
portion of the limbs are so many distinctive marks of the genius of the 
great Athenian sculptor'. (Froehner.) 

442. Vase of Sosibius, with a curious representation of a festive 
dance of two Maenads and a Satyr round a sacrificial altar , with 
Diana, Apollo, Mercury, and Mars. 

By the wall, in the centre, *464. Pallas of Velletri, a Roman 
copy of a Greek bronze original of the 5th cent. B.C., found in 1797 
at Velletri near Rome. In the right hand (badly restored) was a 
spear, in the left perhaps a cup or a small Nike (Victoria). To the 
left of the entrance, 444. Statue restored as Urania. — By the 
window-wall, 508. Circular base with representations of Luna and 
Oceanus. In the window-niche to the left, 510. Ideal female head 
(Greek). — At the entrance to the next room, 522. So-called Ata- 
lanta, more probably a wrongly restored Diana. 

Salle dtj Heros Combattant (X). In the centre : *525. Venus 
of Frejus (named 'Venus Genitrix' from a medal), a good Roman 
copy of a Greek work of the 5th cent, attributed to Alkamenes (found 
at Frejus). 526. Hercules or Theseus (bust). 

*527. Borghese Gladiator ('Heros Combattant'), found at Antium. 



Ancient Sculptures. LOUVRE. Right Bank 4. 103 

The inscription records that it was executed by '■Agasias, son of 
Dositheos of Ephesus', a scnlptor of the late republican or early im- 
perial epoch, who seems to have here reproduced a work of the end 
of the 4th century. 

The right arm is modern, while the left arm with the strap of the 
shield is preserved. Opposite the hero we must suppose an enemy on 
horseback, against whom he is defending himself with his shielded left 
arm, while his right is drawn back to deal a heavier blow with his sword. 
The mouth is open, as if the hero, like Homer's warriors, were reviling 
his adversary. The expression of the face is indicative of a supreme 
and yet controlled effort of strength. The simultaneous acts of defence and 
attack are admirably expressed. 

528. Faun of Vienne (where it was found in 18'20), known as 
the 'Eaune a la tache'; traces of red pigment are still visible in the 
hair, and two small horns spring from the forehead. — *529. Diana of 
Gabii, probably a 'genre' work representing a girl finishing her toilet, 
after Praxiteles. 

To the right, in retracing our steps : 573. Mercury (called the 
'Richelieu Mercury', from its having belonged to the Cardinal); 
*562. Borghese Centaur, or Centaur subdued by Cupid, resem- 
bling the Capitoline Centaur (a copy of which may be seen in the 
Galerie Denon, p. 96), but bearing a Cupid on his back; 552. Wound- 
ed Amazon (freely restored). On the other side : 530. Minerva Paci- 
fica; 535. Eine head of Ganymede or Paris; 536. Cupid and Psyche. 
Middle of the wall, opposite the window : *542. Marsyas bound to 
the trunk of a tree, in order to be flayed alive at Apollo's command ; 
*544. Bust of a Man, an admirable Greek work of the time of 
Lysippus; 545. Cupid. 

Salle dtj Tibre (XI). In the centre, 588. Unknown Greek Poet. 
— *589. Diane Chasseresse, or Diana of Versailles, probably a re- 
plica of a work of the time of Praxiteles and Scopas. 

The goddess, walking fast, seizes an arrow. She is looking round as if 
in search of fresh game. The expression of the face is grave, the forehead high 
and severe, the eyes eager. The roe running beside her heightens the 
impression of the rapid strides of the goddess. — This statue bears some 
resemblance to the Apollo Belvedere, though less masterly in execution 

*593. Colossal God of the Tiber, recumbent, with Romulus and 
Remus and the she-wolf by his side, probably a work of the early 
Roman empire, an admirable companion to the celebrated group of 
the Nile in the Vatican (reproduction in the Tuileries Garden, p. 68). 
On the left and right, 595, 594. Flute-playing Satyrs. — Behind, 
597-600. Four colossal Satyrs bearing a frieze (Greek). 

To the left of the 3rd window, 677. Head of a satyr ('Faun of 
Aries'). By the 1st window : *664. Fragment of a replica of the Besting 
Satyr of Praxiteles ; 665. Smaller copy of the same torso. In the 
recess to the right of the entrance, 660. So-called Zingarella, a 
statue of Diana, with head, arms, and feet in bronze (modern). — In 
front of the window, 2240. Crouching Venus, from Sainte Colombe, 
near Vienne (another opposite, found at Tyre; on the backs of both 
statues are traces of a Cupid's hand). 



104 Bight Bank 4. LOUVRE. Ground Floor: 

Rear wall: 622. Resting Bacchus; 639. iEsculapius; 640. 'Jupiter 
Talleyrand', archaistic. 

Salle des Cabjatides (I), so-called from the caryatides at the 
other end, originally an ante-chamher of the apartments of Catherine 
de Me'dicis. 

Here, on Aug. 19th, 1572, the Princess Margaret of Valois, sister of 
Charles IX, was married to the young Protestant King of Navarre (after- 
wards Henri IV of France). Admiral Coligny and many other Huguenot 
leaders were present at the ceremony. Five days later, on the Eve of 
St. Bartholomew (Aug. 23rd), Charles IX, at the instigation of his mother, 
Catherine de Medicis, gave the order for the massacre of the Huguenots 
and the arrest of King Henri. It was in this saloon that the Ligue held 
its meetings in 1593, and that the Due de G-uise (reconciled with Henri 
owing to the latter's renunciation of Protestantism) caused four of its 
most zealous members to be hanged the following year. The body of 
Henri lay in state here after his assassination in 1610. In 1659 the room was 
used as a theatre by Moliere, who acted here in his own inimitable plays. 

"We first enter a kind of vestibule, which contains, by the 
farther wall, a chimneypiece executed by Percier and Fontaine in 
1806. In front of the chimneypiece: 540. Fragments of a Grseco- 
Egyptian celestial chart; 75. Hercules, with his son Telephus and 
the hind by which the latter was suckled. — To the left, by the 
window, 231. Borghese Hermaphrodite, of the latest Greek period, 
and too sensuous in style. The mattress is an unhappy idea of 
Rernini (17th cent.). 

In the Salle proper, between two pillars, *78. Jupiter of Versailles, 
a colossal torso on a modern stand. To the right , 80. Statue of a 
Greek philosopher (Posidonius ?). To the left, 79. Demosthenes, the 
head from another statue. 

In the centre : 81. Orestes and Pylades, of the school of Pasiteles 
(1st cent. B.C.) ; 82. Ancient basin of Sicilian alabaster, so placed 
that the faintest whisper uttered at its edge is distinctly audible to 
an ear at the edge of the similar basin (90) at the other end ; 83. 
Hermes in the act of fastening his sandals; 85. Reposing Bacchus; 
86. Borghese Vase, with Bacchanalian representations ; *87. Young 
Dionysus (the 'Richelieu Bacchus'); 89. Discobolus. — The four 
^Caryatides bearing the gallery at the end were executed by Jean 
Ooujon (p. 110). Above it is a cast of Benv. Cellini's Nymph of 
Fontainebieau (p. 111). 

Third window on the right, as we return: 113. Bacchus ; 149. 
Large Candelabrum reconstructed by Piranesi in the 18th cent, 
from ancient fragments. — On the side next the court, 1st window 
(to the right as we enter), 53. Venus in the Bath (freely restored) ; 
2nd window, 40. Boy with a goose; in front of the central door, 91. 
l Minerve au collier', a mediocre reproduction of the type of Phidias's 
Athena Parthenos ; to the right, 849. Demetrius Poliorcetes (more 
probably Seleucus Nicator); 3rd window, Crouching Venus (Venus 
h la coquillej. To the right of the exit, 32. So-called Bust of Diomedes. 

Antique Bronzes, see p. 152; Terracottas, Vases, etc., p. 162. 



Asiatic Museum. LOUVRE. Bight Bank 4. 105 

The Escalibb Henri II, in the Pavilion de l'Horloge, adjoining 
the Salle des Cariatides, ascends to the principal collections on the 
first floor (see plans, pp. 96, 116 ; Collection La Caze, p. 151). It 
is , however , better to ascend by the grand staircase , reached by 
returning through the Salle des Cariatides, and turning to the right. 
The Escalier Henri II is decorated with sculptures by Jean Ooujon. 

Visitors who have time to spare should pass out, however, into 
the Court of the Old Louvre, in order to inspect the following 
collections. 



The *Asiatic Museum (Musee des Antiquites Asiatiques ; generally 
open at 11, but sometimes not before 1 o'clock) is entered from the 
passage under the colonnade, to the left in coming from the Cour 
du Louvre (B on the Plan, p. 96). — It contains one-half of the 
yield of the excavations made at Kouyurvjik (Nineveh) between 1845 
and 1854 by M. Botta and Sir A. H. Layard (the other half being 
in the British Museum), and also antiquities collected from other 
parts of Asia. 

Room I (Grande Galerie) : Assyrian Antiquities, most of which 
belonged to the palaces of Kalah (the modern Nimroud ; 9th cent. 
B.C.), Khorsabad (8th cent.), or Nineveh. 

The kingdom of Assyria or Assur, the land of Nimrod of the Bible, 
lay on the left bank of the Tigris, its capital being Assur, and afterwards 
Mneveh. The Assyrians conquered the Babylonian empire about B.C. 1250, 
and afterwards extended their supremacy as far as Asia Minor. The ex- 
cavations have bronght to light remains of extensive palaces, the cham- 
bers of which were lined with alabaster slabs, bearing scenes from the 
lives of the Assyrian monarchs, similar to those on the Egyptian mon- 
uments, and still more lifelike. Hunting-scenes, battlefields, and sieges 
alternate with others representing the king in his court or among his 
guards, and accompanied by figures of fantastic monsters. The inscriptions 
are in cuneiform character, i.e. wedge-shaped and angular signs placed 
horizontally and obliquely. 

Most of the gigantic * Winged Bulls come from the palace reared at 
the modern Khorsabad by Sennacherib or Sargon II. (722-705 B. C). 
These were placed, like the Egyptian sphinxes, at the entrances to 
great buildings, and they are provided with five legs as they were 
intended to be viewed either from the front or from the side. Their 
human heads wearing a tiara seem to leave no doubt that they were 
personifications of kings. Like the sphinxes, too, these animals sym- 
bolized the union of strength and intelligence; and wings are fre- 
quently found as the emblem of power on Assyrian monuments. — 
The Colossal Figures at the back- wall also adorned the entrance to 
the palace. The figures who , without apparent effort and without 
passion, are crushing lions against their breasts represent the Assyrian 
Hercules. In the spaces between these figures are bas-reliefs of 
royal corteges, a king and a priest, a king sacrificing an antelope to 
a god, etc. The details on these and other reliefs have an important 
historical value; while certain portions, especially the horses (near 



106 Right Bank 4. LOUVRE. Ground Floor: 

the windows) and the animals in general are of admirable work- 
manship. In the centre of the room: Nine headless Statues, in 
greenish black diorite, and two Heads from Ohaldaea, covered with, 
inscriptions and indicating a very advanced technique; Threshold 
of a Door, from Nineveh. — The two glass-cases near the windows 
contain terracottas from Assyria and combs and bas-reliefs from 
Ohaldaea, etc. 

Rooms II & III: Continuation of the reliefs ; Phoenician Sarco- 
phagi, resembling in form the mummy-shaped Egyptian sarcophagi 
(p. 107). — In the middle, basalt Sarcophagus of King Esmunzar 
of Sidon , with the longest known Phoenician inscription. Short 
catalogue (1897 ; 75 c). 

The Phoenicians, whose chief settlements were on the Syrian coast, 
possessed important colonies on every part of the Mediterranean, and were 
the earliest traders between the East and West. To them we are indebted 
for oar modem system of wriling, as they were the first to reject the 
cumbrous Egyptian style and to adopt a simple sign for each simple sound. 

Salle Phenicienne et Chypbiotb, to the left of the staircase: 
Phoenician antiquities and others from Syria and Cyprus. Among 
these are a Vase, 12 ft. in diameter, from Amathus in Cyprus, hewn 
out of a single block of stone, and seven statues and some carved 
capitals from the same island. — The — 

Salle de Milbt (XXXVI) contains sculptures from Miletus and 
Heraclea in Asia Minor, and also fragments from the Temple of 
Apollo at Didyma. In the centre , Two colossal bases of columns 
from the same temple. At the back, Mutilated statues from the 
theatre and from the Necropolis. On the upper part of the walls, 
Bas-reliefs from the temple of Assos in Mysia, specimens of primi- 
tive Ionian art (beginning of the 6th cent. B.C.). — The — 

Salle de Magnesie dxj Meandre (XXXVII) contains fragments 
of the Temple of Artemis Leucophryene ('Diana of the white eyebrows') 
at Magnesia, near Ephesus, of a late period. The frieze, one of the 
most extensive relief-compositions of ancient times, about 88 yds. 
in length, represents wild contests between Greeks and Amazons. 
We observe also a.Vase from Pergamum, with reliefs of young Greeks 
on horseback ; and a statue of Diana from Phrygia (replica). — By 
the first window, under glass, Terracottas from Smyrna. 

Continuation of the Asiatic Antiquities in the Galerie de Morgan, on the 
ground-floor (see p. 169), and on the first floor, to which the adjoining 
staircase ('Escalier Asiatique'') ascends, see p. 158. — On this staircase 
are farther Assyrian bas-reliefs, casts from similar reliefs in the British 
Museum, and sarcophagi. 

The Sallb Judaique, to the right, under the staircase, contains 
Jewish antiquities from Palestine and the neighbouring countries, 
such as sarcophagi from the Tombs of the Kings, architectural frag- 
ments, reliefs, vases, pottery, Moabite sculptures, and inscriptions. 
In the centre of the room is the famous basalt Stele of King Mesa 
ofMoab (9th cent. B.C.), whose battles with the Jews in B.C. 896 are 



Egyptian Museum. LOUVRE. Bight Bank 4. 107 

recorded by the inscription. This is the oldest known example of 
alphabetic writing. Short catalogue of the objects from Palestine 
(50 c). 

Adjacent is the small Salle Ponique, with antiquities from Carthage, 
and the Salle Ibekienne, with antiquities discovered in Spain-, hut hoth 
rooms are usually closed. The most important Spanish antiquities are 
exhibited in the 3rd room of the Asiatic Antiquities, on the first floor (p. 159). 



The *Egyptian Museum (Musee des Antiquites Egyptiennes ; open 
at 11) has its entrance opposite that of the Asiatic Museum, to the 
right when approached from the court (A on the Plan, p. 96). One 
of the most important collections of the kind in Europe, it affords, 
so far as is possible without the appropriate architectural surround- 
ings, an almost complete survey of the religion, customs, and art- 
life of the most ancient of civilised nations. The exhibits are provided 
with explanatory labels. Short illustrated catalogue (1897 ; 1 fr. 55 c). 

"We first enter the Salle Henbj Quatre, which contains the largest 
objects in the collection. Among these are the Sphinxes, fantastic 
figures with lions' bodies and human heads (gods or kings), symbols 
of power united with intelligence, which were usually erected in 
pairs on the avenues leading to the temples; Monuments com- 
memorating special events ; Steles, or votive stones erected to the 
memory of deceased persons, bearing inscriptions and representations 
of the infernal deities (Osiris), to whom, as well as to the deceased 
themselves, offerings were presented by the bereaved relatives; 
Statues, from tombs or temples ; Bas Beliefs ; and Sarcophagi. 

Egyptian chronology being scarcely an exact science, the monuments 
of this collection are dated merely by Dynasties. This mode of reckoning 
rests on the authority of the Greek writer Manetho, who reckons thirty-one 
such dynasties between the beginning of Egyptian history and the conquest 
of Egypt by Alexander the Great. The first dynasty is placed by Mariette 
at 5004 B.C. and by Lepsius at 3892 B.C. The fourth dynasty flourished 
about 2500 B.C., the 12th about 1996-1783, the 18th about 1545-1350, the 
19th about 1350-1200 B.C. Exact dates begin to be possible with the accession 
of Psammetichus I. in 663 B.C. (26th dynasty). 

The large Sphinx in pink granite at the entrance is in better preser- 
vation but is not so interesting as its pendant at the other end of the room. 
To the right, Uos. A 18, A 19. Foot and head of a colossal statue of 
the 12th or 13th Dyn., 'usurped 1 by Amenhotep (or Amenophis) III., the 
Memnon of the Greeks. *D 9. Sarcophagus of Taho, a 'masterpiece of the 
later Egyptian sculpture 1 (26th Dyn.); the scenes and inscriptions on this, 
as on other sarcophagi, refer mainly to the nightly voyage of the ship of 
the 6un through the lower regions, in which the dead take part. — In the 
centre, wooden mummy-case from the coffin of Sopi (an official of the 
1st Theban empire). To the left, D 8. Sarcophagus of another Taho of 
the reign of Psammetichus I. (26th Dyn.). Farther on, A 20. So-called 
Statue of Ramses II., belonging to a king of the middle empire (12th or 
13th Dyn.), usurped by Ramses. In the middle, the capital of a column 
in the form of a double head of Hathor, from the temple at Bubastis, 
and (to the right) a fragment of a clustered column with a lotus- 
bud capital. Below the large capital, Painted bas-relief of Seti I. (Se- 
sostris; 19th Dyn.) and the goddess Hathor (discovered by Champollion). 
Left, A 24. Colossal Statue of Seti II. (end of the 19th Dyn.), in red sand- 
stone, with the double crown on his head and holding a flag-staff on which 
the royal name and titles are engraved. Farther back, D 31. Portion of 



108 Bight Bank 4. LOUVRE. Ground Floor: 

the base of the obelisk of Luxor (p. 66), with four cynocephali (dog-faced 
baboons) adoring the rising sun. Above, D 38. Cast of the Zodiac of Den- 
dera (p. 204). Several statues of the lion-headed goddess Sekhmet. A little 
farther on: no number, Colossal Sarcophagus of Ramses III. (20th Dyn.), 
in pink granite (the lid is at Cambridge). — In the centre, painted sarco- 
phagus of Sopi (1st Empire). — To the right, D 10. Sarcophagus of Hor, a royal 
official; in the interior are the 42 infernal judges who assisted Osiris in 
judging the dead. In front and farther on are mummy- shaped sarcophagi 
with well-executed reliefs. — To the left, by the wall, C 48. Stele of pink 
granite, in the form of an Egyptian temple- gate under the 18th Dyn. ; 
farther on, D29. Naos of Arnasis, a monolithic votive chapel in pink granite, 
presented to a temple by King Amasis (569-526 B.C.). 

At the end of this hall is a staircase, on the left of which is the stone 
lining from a wall in the temple at Karnak, with a fragment of a list of 
the campaigns of Thutmosis III. (18th Dyn.). Higher up, A 22. Alabaster 
statue (freely restored) of Ramses II. 

To the left, at the foot of the staircase, is the Salle d'Apis, con- 
taining the statues, steles, and other objects found by Mariette in the 
Serapeum or large mausoleum of the Apis hulls at Memphis. 

The Apis was the animal sacred to Ptah , the god of Memphis. The 
bull to be thus honoured required to be black in colour, to have a white 
triaugle on his forehead, a white mark on his back resembling an eagle, 
and an excrescence under his tongue in the shape of the sacred scarabseus 
beetle. After his death the sacred bull was interred with great pomp in 
the vaults known to the Greeks as the 'Serapeum 1 , a word derived from 
'Osiris Apis 1 , which the Egyptians applied to the dead Apis. 

In the middle of the room, S 98. large Figure of Apis, on which the 
marks of the sacred bull are distinctly visible. At the side are several 
Canopi, or stone vessels, in the shape of the heads of the patron-gods of 
the deceased and containing the entrails of the embalmed balls. Around 
the walls are Steles, erected by devout persons in the tombs of the bulls, 
which give the dates of the deaths of these revered animals, with the kings 1 
reigns when they occurred, affording a valuable clue to Egyptian chrono- 
logy. Opposite is a statuette of Bes, a grotesque Fgyptian divinity. The 
Lion, near the window, of a late period, should be noticed. — At the 
entrance to an adjacent apartment is the gateway of the Serapeum (under 
glass), with inscriptions of the period of the Ptolemies. The glass-case 
in the centre contains articles found in 1903 in the necropolis at As si tit. — 
A door leads hence to the rooms containing the Renaissance Sculptures 
(see below). 

Another gallery, for monuments of the Old and Middle Empires 
(4-18th Dyn.), will be found under the colonnade beside the Salle d'Apis. 

Continuation of the Egyptian Antiquities, on the first floor, see 
p. 160 and in the Salle du Mastaba, on the ground-floor, see p. 168. 



Collection of Mediaeval and Renaissance Sculptures (Musee 
des Sculptures du Moyen Age et de la Benaissance ; open after 1 p.m. 
in summer, after 12.30 p.m. in winter). — The chief entrance is 
in the S. wing of the inner Court of the Louvre, by the second door 
to the left of the passage, as we face the Seine (PI. D) ; but it may 
also be reached via, the small room under the staircase at the end of 
the large room of the Egyptian antiquities (see above). — Catalogue, 
1 fr. 25 c. 

Vestibule. Reconstruction of a bronze fountain - group from 
Fontainebleau : Diana (after the Diane Chasseresse, p. 103) with four 
dogs, a French work of the early 17th century. — The room to the 



Mediaeval Sculptures. LOUVRE. Right Bank 4. 109 

left contains the most recent acquisitions (p. 112); that to the right, 
the Christian Antiquities, see p. 112. — "We may either enter the 
Salle Jean Goujon (p. 110) straight on, or turning to the left, 
traverse all the rooms to begin our inspection with the first, or Salle 
Beauneveu. 

Salle Andre Beauneveu or Room I contains statues from 
tombs and statuettes of the French school of the 14-15th centuries. 
The chief work is No. *216. Monument of Philippe Pot, grand-sene- 
schal of Burgundy and favourite of Philip the Good, who was buried 
at the Abbey of Citeaux; the recumbent statue reposes on a slab 
supported by eight mourning figures (1477-83). By the window 
towards the Seine, *219. Calvary from Nivelles in Flanders in wood 
(early 16th cent.). At the window towards the Place, 218. Brass of a 
Catalan merchant (1400) ; Crown of Thorns (French school, ca. 1500). 
In the centre, 94. Tomb-figure of Blanche de Champagne, in embos- 
sed copper (14th cent.). 224. Sepulchral monument of Philip VI. of 
France, attributed to Andre Beauneveu of Valenciennes (14th cent.) ; 
opposite, 108. Statue of Guillaume de Chanac, similar in style; then 
(by the central window) that of Philippe de Morvillier, the head and 
hands of marble (early 15th cent.). Above, to tbe left, God the Father 
with angels, from Chaumont (early 16th cent.). 

Salle du Moyen Age (II). Other French tomb-statues of the 
14th century (110. Jean de Dormans; d. 1380); Virgin and Child 
(12th cent. ; wood) ; figures of the Virgin, Christ, and bas-reliefs of 
the 14th century. Statue of Childebert, King of France (13th 
cent.); Gothic door from a house in Valentia in Spain (15th cent.). 
Sculptured fragments (13th cent.), including four (Nos. 61-64) from 
the rood-loft of the cathedral of Bourges and another (78. Scenes in 
Hades) from Notre-Dame at Paris (in the centre); capitals, etc., of 
the ll-13th centuries. 

Salle Michel Colombb (III). By Michel Colombe or Michault 
Columb (1431-1512), the chief representative of the Loire school of 
his period, from whom the room takes its name, *226. Relief of 
St. George and the dragon, near the next door. Below, *262. 
Dead Christ, ascribed to Q. Pilon. To the right, *143. Virgin of 
Olivet (16th cent.). In the middle : 276. Mercury and Psyche, by 
A. de Vries (1593).; 225. Mercury, a replica of the statue in Florence 
by Oiov. da Bologna, a native of Douai in Flanders ; 224bis. Fame, 
by P. Biard, from the tomb of the Due d'Epernon at Cadillac (these 
three are bronzes). Behind and at the sides, sepulchral statues and 
bas-reliefs of the 15-16th cent., including *126. Monument of 
Philippe de Comines (1445-1509) and his wife (Paris; beginning 
of the 16th cent.); 274. Statue of Henri IV, ascribed to B. Tremblay 
and 0. Oissey. Busts: 180. Martin Freminet (d. 1619); *173. Jean 
d'Alesso (d. 1572); 462. Giov. da Bologna (by P. Tacca). To the 
Tight, *144. Virgin from Ecouen (16th cent.); 160. Bronze bust of 



110 Bight Bank 4. LOUVRE. Ground Floor: 

Francis I.; 149. Tomb-statue of Roberte Legendre, by G. Begnault 
and G. Chalevau; above, *220. Tomb of Jean de Cromois, abbot of 
St. Jacques at Liege (d. 1525). By the second window, 153. 'La 
Mort St. Innocent', a skeleton from the former Cimetiere des 
Innocents (p. 194); fine bas-reliefs in Munich stone including a 
Holy Family (277), after Diirer, attributed to Hans Daucher (16th 
cent.). At the first window, Death-mask of Henri II, in terracotta, 
reproducing the cast taken by Fr. Clouet after the fatal blow accident- 
ally struck by Montgomery (p. 175). 

Salle Jean Goujon (IV), named after the most distinguished 
French sculptor of the 16th century, who executed, under Henri II, 
a great part of the decorations of the Louvre. His best-known work 
is No. *228, the large group of Diana with the stag, in the middle 
of this saloon , which affords an excellent example of the grace- 
fulness of form and other attributes characteristic of French taste. 
(The visitor will find it interesting to compare this Diana with 
Benvenuto Cellini's Nymph of Fontainebleau , p. 111.) To the 
left and right (255 and 250) are works by Germain Pilon, the Three 
Theological Virtues or Three Graces (the urn on whose heads was 
intended to contain the heart of Henri II), and the Four Cardinal 
Virtues (destined as the supporters of the reliquary of St. Genevieve), 
— Round the room from right to left : 260. G. Pilon, Bust of a child ; 
168. French School (16th cent), Charles de Maigny (Paris, 1556); 258. 
Effigy, genii, and reliefs from the tomb of the wife of Chancellor Rene 
deBirague (see below) ; above, *229. J.Goujon, Descent from the Cross 
and the Evangelists, reliefs from the old rood-loft of St. Germain- 
l'Auxerrois (1541) ; 256. G. Pilon, Mater Dolorosa, in painted terra- 
cotta ; 268. B. Prieur, Column, three bronze figures, and emblems from 
the tomb of Constable Anne de Montmorency (p. 399) ; 261. G. Pilon, 
Chimneypiece from the Chateau de Villeroy, with a bust of Henri II 
(227) by J. Goujon ; 235. Et. le Hongre, Fragments of the mausoleum 
of the CosseVBrissac family; G. Pilon, 253. Bust of Henri III, *257. 
Bronze statue of the Chancellor de Birague (d. 1583) ; 137. Statue 
of Admiral Philippe de Chabot (d. 1543) ; *230 (above), J. Goujon, 
Reliefs from the Fontaine des Innocents (p. 194). — At the third 
window: 270. Jean Bichier (?), Daniel come to judgment (relief) ; 
271. Ligier Bichier, Infant Jesus; 162. French School (16th cent.), 
Nymphs awakened; G. Pilon, 241, 240. Faith and Strength (reliefs), 
252. Bust of Charles IX, no number, Christ on the Mount of Olives. — 
At the second window : 266, 267. B. Prieur, Statues from the tomb 
of Constable Anne de Montmorency and his wife ; 245. G. Pilon, 
Entombment (bronze relief). At the first window: 246. G. Pilon, 
Fragments of a pulpit, from the Grands- Augustins, Paris. ■ — The — 

Salle Michel- Ange (V), containing Italian sculptures of the 
15-1 7th cent., is named from the marble statues of the two Fettered 
Slaves (*379, 380), by Michael Angelo (1475-1564), which were 
intended for the mausoleum of Pope Julius H., and were to represent 



Renaissance Sculptures. LOUVRE. Right Bank 4. Ill 

the Virtues fettered. The head of the older (and less "beautiful) is 
unfinished. 

'They writhe in a magnificent effort to burst their bonds. One of them, 
realising the uselessness of his struggles, throws his head back in despair, 
and closes his eyes. Nothing can be more sublime than this figure of 
impotent strength 1 . (Th. Gautier.) 

These statues stand on the right and left of the entrance to the 
next room, whic h consists of a *Portal (329) of the 15th cent. , removed 
from the Palazzo Stanga in Cremona, and executed "by Antonio da Rhb. 
The reliefs repre sent scenes from the life of Hercules, the mythical 
founder of Cremona, and from that of Perseus ; also the daughter 
of Herodias with the head of John the Baptist. — In front, to' the 
left, *396. Bust of Filippo Strozzi, by Benedetto da Maiano. — In the 
middle of the room, 333. Marble fountain-basin from the chateau of 
Gaillon (p. 442), 308. Bronze bust of Michael Angelo, Italian works 
of the 16th century. By the second window, on a stand, *Head of 
Scipio, bas-relief (School of Verrocchio?). 

By the entrance-wall, from right to left: 403. Bust of John the 
Baptist as a child, by Mino da Fiesole; 386. Julius Caesar, bas-relief 
by BonatelloQi)^ Six Virgins, by unknown artists of the 15-16th 
cent., and one (no number; above, to the left) by Jac. Sansovino 
(Tatti); 323 (centre of the wall), Circumcision, a wood- carving of 
the Venetian school of the 15th century. High up, *381.Benvenuto 
Cellini, the 'Nymph of Fontainebleau', executed in 1543 for a 
tympanum in the palace at Fontainebleau. 

By the back-wall : 304. Jason, 354. Hercules slaying the Hydra, 
two bronze statues of the 16th cent.; 334. Equestrian figure in 
high-relief of Rob. Malatesta, captain- general of the papal forces 
(1484); 336, 337. Virgin and the Angel Gabriel, in wood (Florentine 
school of the end of the 14th cent.) ; 302, 302 bis. Busts of a man 
and woman (15th cent.); Virgin in painted terracotta (medallion) 
attributed to Andrea della Robbia; two other Virgins, an Angel 
Gabriel (14th cent.), and a Pieta in high relief (15th cent.). 

By the first window, 303. Romulus and Remus suckled by the 
wolf, an Italian work of the 16th century. — The highly interesting 
collection of early-Renaissance *Bronze -reliefs by the windows in- 
cludes eight (414-421) by Andrea Briosco, surnamed Riccio, of Padua 
(1480-1532). Originally belonging to the tomb of Marcantonio 
della Torre, these reliefs illustrate the life and death of that 
celebrated physician in a thoroughly antique style. Here also are six 
bas-reliefs of the Virgin, three of which (399-401) are by Mino 
da Fiesole. At the second window: 310. Polychrome statue of a 
negro, after- the antique (17th cent.) ; 395. Bronze medallion of 
Charles V, by Leone Leoni of Arezzo (?), and other medallions. 

Salle Italienne (VI). 411 bis. Virgin and Child, group in 
painted and gilded wood by Jac. della Querciaf?); left, 383. Bust 
of John the Baptist, by Desiderio da Set tignano (not Donatello); 300. 
Funeral rites, high-relief in black stone, in imitation of the antique. 



112 Eight Bank 4. LOUVRE. Ground Floor: 

At the window: 351. Relief of a child, in the style of Donatello; 
fine ornamental sculptures, etc. At the sides, the Four Virtues, of 
the Italian School of the 14th century. 

Salle della Robbia (VII). This room contains nearly 50 bas- 
reliefs, statues, and statuettes in terracotta by the Bella Robbia and 
their school (Florence ; 15th cent.) and also reliefs of the 12-15th 
centuries. To the right of the entrance, 407. Statue of Louis XII, 
by Lor. da Mugiano (head modern). To the left, 408. Friendship, 
by P. P. Olivieri. In the middle of the room, 464. St. Christopher, 
in painted and gilded wood, by Vecchietta. By the window to the 
left, Bust of Card. Medici, by Bernini (?). By the right wall, 368. 
Bust of Ferdinand I. of Aragon, King of Naples (1423-94). On a 
stand, *Madonna surrounded by angels, by Agostino di Duccio. 

Salle des Antiqt/ites Chretiennes (XXXIX). Small bronzes, 
sarcophagi, reliefs, inscriptions, vases, lamps, and mosaics, chiefly of 
the 4th and 5th cent., found in S. France, Algeria, and Italy. — "We 
return hence to the vestibule, through which we enter the — 

Salle des Nouvelles Acquisitions (VIII), on the opposite side, 
where recent acquisitions are kept until their ultimate places are 
assigned to them. To the left, Sleeping Apostle, a work from French 
Flanders (end of the 15th cent.). In the centre: Madonna and Child 
(French School of the early 14th cent.); St. Matthew writing to the 
dictation of the angel, a relief of the French School (13th cent.); two 
carved columns from Coulombs near Chartres (12th cent.). By the 
main wall are statues in wood: *Eve (Franconian School, 16th 
cent.; perhaps by Veit Stoss); 30. Christ (12th cent.); Archangel 
Gabriel (Flemish School ; middle of the 15th cent.); St. John (School 
of Touraine; 15th cent.); Madonnas (14-15th cent.); St. Genevieve, 
Christ praying (French School; 13th cent.). By the left wall: SS. 
Ann, Peter, and Susannah (early 16th cent.); Statues of Charles V 
and his wife Jeanne de Bourbon (14th cent.), from the Eglise des 
Celestins at Paris ; three angels with instruments of the Passion 
(end of the 15th cent.). In the glass-case are sketch-models and 
statuettes of the 18th cent., by Carpeaux, Barye, etc. Virgin of the 
Annunciation, by Tilmann Riemenschneider (15- 16th cent.). At 
the 1st window: Madonna, in wood (Rhenish School after 1450) ; 
St. Michael and the dragon, stone-relief (French school; 12th cent.); 
busts by Deseine (1791); bronze bust of Diderot, by Pigalle, etc. 



The *Collection of Modern Sculptures (Musee des Sculptures 
Modernes; open at 12-30 or 1 p.m.), which forms a continuation of 
the Renaissance collection, comprises chiefly French works of the 
17-19th centuries. It occupies the W. portion of the Vieux Louvre ; 
entrance by the second door to the right of the Pavilion de l'Hor- 
loge (PI. E). 



Modern Sculptures. LOUVRE. Eight Bank d. 113 

Salle de Puget (II), named after Pierre Puget of Marseilles 
(1622-94), the most famous of the French artists of the 17th century. 
Among his works are, in the middle : 793. Hercules reposing (1660); 
795. Perseus and Andromeda (1684) ; *794. Milo of Croton attacked 
hy a lion, the most admired of his works (1682). Between them, 
745. Two fine vases from St. Cloud (16th cent.). — On the wall to 
the left, 796. Puget, Diogenes and Alexander the Great, a bas-relief 
with masterly treatment of the vulgar types of the attendants; to the 
right, *552. Coyzevox (see below), Monument of Cardinal Mazarin. 
Near the door, *555. Coyzevox, Nymph with a shell. — By the win- 
dow, 830. Theodon, Atlas; 517. Buyster, Statue of Marguerite de 
Crevecoeur, from her tomb. Between the windows, 754-757. 
P. Legros, Hermse of the Seasons. By the 2nd window, 774. The 
large 'Yase de Marly', of the French school. 691, 692. Girardon, 
Bronze model and a foot of the equestrian statue erected to Louis XIV 
in the Place Vendome in 1699. — By the next window, 831. 
Theodon, Phaethusa metamorphosed into a reed. — To the right : 
487. Fr. Anguier, Monument of Jacques de Thou (d. 1617), Presi- 
dent of the Parliament, with statues (488, 489) of his two wives, 
that to the right (489) attributed to B. Prieur; *702-704. Sim. 
Gillain, Louis XIII, Louis XIV as a child (the nose not of the 
characteristic type), Anne of Austria, bronzes from the old monu- 
ment on the Pont au Change (p. 260). — By the window, 764. 
J. L. Lemoyne, Bust of Mansart ; 659. Desjardins, Bust of Colbert. — 
The door on the left of the entrance leads to the — 

Salle de Coyzevox (I), named after Charles Antoine Coyzevox 
(1640-1720), one of the ablest of the French portrait-sculptors (for 
his monument of Mazarin, see above). On the wall to the right, named 
from right to left: Coyzevox, 558. The Rhone, 561. Duchess of 
Burgundy (mother of Louis XV) as Diana, 556. Venus ; busts. By 
the 2nd window : 560. Shepherd playing on the flute; 554. LeBrun; 
559. Marie Serre, mother of the painter Rigaud. 841. Warin, Bust of 
Louis XIII (bronze) ; 660. Desjardins, Bust of Mignard. By the 
1st window, *577. Conde (bronze) ; no number, Portrait of the artist. 
Between the -windows, 686. Remains of the old monument to Henri IV 
on the Pont Neuf, by P. Francheville or Franqueville. On the side 
next the entrance: 491. Mich. Anguier, Amphitrite; 723. Sepulchral 
statue of theDuchess of Retz ; 687. B. Fremin, Flora; 684. Francheville, 
David and Goliath; 486. Fr. Anguier, Jacques de Souvre; 701. 
S. Guillain, Charlotte de La Tremoille, Princess of Conde; 683. 
Francheville, Orpheus; 688. Fremin, Diana; 512. Bourdin, Amador 
de la Porte, 736. Bust of Richelieu. By the end- wall, J. Sarazin, 
Sepulchral monument of Cardinal de Berulle. In the centre: 485. 
Fr. Anguier, Monument of Due Henri de Longueville ; 699, 700. 
G. Guerin, Effigies of the Duke and Duchess of La Vieuville. — From 
this room we pass through the Salle Puget to the — 

Salle des Coustou (III), which is named in honour of the 

Baedeker. Paris. 16th Edit. 8 



114 Right Bank d. LOUVRE. Ground Floor: 

brothers Nicolas Coustou (1658-1733) and Quillaume Coustou {1§!1- 
1746), and of the latter's son Quillaume Coustou (1716-77). In the 
centre, 548. Nicolas Coustou, Adonis resting from the fatigues of 
the chase (1710). To the left: 481. L. S. Adam, Lyric Poetry; *483, 
484. Allegrain, Venus and Diana bathing; 672. Falconet, Music; 

549. Nic. Coustou, Caesar; 543. Quillaume Coustou the Elder, Marie 
Lesczinska of Poland, queen of Louis XV (1731); 520. Portrait 
bust by Caffierif?); no number, Lemoyne, Trudaine. By the first 
window, Bust of N. Coustou by Q. Coustou. Between the windows, 
781. Pigalle, Mercury fastening his sandals, a leaden statue formerly 
in the Luxembourg gardens. By the second window, busts: 519. 
Caffieri, Nivelle de la Chaussee, the poet; 785. Pigalle, Guenn, the 
surgeon; 675. Falconet, Cupid; 672. Lemoyne, Gabriel, the architect; 

550. Nic. Coustou, Louis XV; 828. Slodtz, Hannibal. Above, on the 
wall, 653-658. Martin Desjardins, Six bas-reliefs in bronze from 
the pedestal of the statue of Louis XIV formerly in the Place des 
Victoires. — Then the — 

Salle de Houdon (IV), dedicated chiefly to Antoine Houdon 
(Versailles, 1741-1828). By Houdon, in the centre of the room, 
*716. Bronze statue of the nude Diana, executed first in marble 
for the Empress Catherine II. of Russia (1781). — To the right of 
the entrance, 782. Pigalle, Love and Friendship. In a niche, 509. 
Bouchardon, Cupid carving a bow out of the club of Hercules; no 
numbers. Houdon, *Original plaster models of busts of Mme. Houdon 
and Sabine Houdon; 837. Vasse, 515. Broche, Sepulchral statues; 
681. Francin (after Houdon), Bust of Gluck. — 783. Pigalle, Bust of 
Maurice, Marshal de Saxe; Pajou, *775. Bacchante, 772. Marie 
Lesczinska as Charity; 507. Bouchardon, Copy of the Barberini 
Faun; *778. Houdon, Marble bust of Voltaire. — Houdon, *Busts 
of Lavoisier, Washington (715), Rousseau (bronze, 711), Abbe* 
Aubert (710), Mirabeau (717), Duquesnoy, Buffon (719), Diderot 
(708), Franklin (713), and Voltaire (bronze, 712). — 773. Pajou, 
Bust of Buffon (773). No number, Falconet, Terracotta study (por- 
trait). By the window, no numbers, Houdon, *Busts of Louise and 
Alexandre Brongniart (terracotta). Opposite the window, 511. 
Bouchardon , Model of the statue of Louis XV that stood in the 
Place de la Concorde, in bronze. 

The Salle de Chaudet (V) is mainly occupied with works of 
the end of the 18th and beginning of the 19th cent., when the ancient 
classical style was revived. To the left : 801. Roland, Bust of Suve'e, 
the painter (terracotta); 805. Roman, Innocence; 803. Roland, 
Homer; 648. Delay, Mercury ; Pajou, Bust of Lemoyne ; 538. Cortot, 
Daphnis and Chloe ; 650. Delaistre, Cupid and Psyche ; 804. Roman, 
Nisus and Euryalus. In the centre: 503. Bosio, Aristaeus, god of 
gardens; 651. Deseine, Mucius Scsevola; *524. Canova, Cupid and 
Psyche ; 748. Julien, Ganymede ; 533. Chaudet, The young GSdipus 
rescued by the shepherd Phorbas. — Round the hall, as we return : 



Modem Sculptures. LOUVRE. Right Bank 4. 115 

Cortot, 539. Soldier of Marathon, 540. Victory (bronze") ; 514. Bridan, 
Epaminondas; *523. Canova, Cupid and Psyche. By the window, 
667. Dupaty, Biblis changed into a fountain; Chaudet, *534. Cupid 
with a butterfly, 536. Bust of Napoleon I. (bronze); Giraud, 697. 
Design for a monument (wax), 696. Dog; Chinard. Bust; 506. Bosio, 
the Nymph Salmacis; 817. Ruxthiel, Psyche borne by Zephyr; 504. 
Bosio, Hyacinthus. — To the right of the door : no number, Lucas 
de Montigny, Bust of Mirabeau; *777. Pajou, Psyche abandoned; 
802. Roland, Bust of Pajou; 760. Lemire, Cupid stringing his bow; 
750. P. Julien, Amalthea; 537. Clodion, Bacchante. 

The Salle de Rude (VI), named after the sculptor Francois 
Rude (1784-1855), continues the series of works of the 19th century. 
By the entrance are medallions by David d' Angers. From right to left : 
678. Foyatier, Spartacus; no numbers, David d : Angers, Arago, Cuvier, 
Duseigneur, Orlando Furioso ; above, Preault. Virgil and Dante 
(bronze medallions); Pradier, Son of Niobe; 814. Rude, Crucifixion; 
806. Roman, Cato of Utica (finished by Rude); no number, David 
d' Angers, Beranger ; 746. Jaley, Prayer; Rude, *8ll. Maurice, Marshal 
de Saxe, 815. Napoleon I. awakening to immortality (model for the 
monument at Fixin); 747. Jaley, Louis XI; Rude, Head of Monge 
(model for the monument at Beaune); 566. David d' Angers, Philo- 
pcemen; no number, by the 1st window, Barye, Tiger and croco- 
dile; 787. Pradier, Psyche; 800. Ramey, Theseus and the Mino- 
taur ; 770. Nanteuil, Eurydice; 495. Barye, Jaguar and hare ; 567bis. 
David d' Angers, Child with grapes; Rude, *813. Joan of Arc, 816. 
Bust of Mme. Cabet. In the centre : no number, Pradier, Atalanta's 
toilet; *494. Barye, Centaur and Lapith; Rude, 810. Mercury 
(bronze), no number, *Young Neapolitan fisher. 

Salle de Carpeaux (VII). From left to right: *670. Duret, 
Fisherman dancing the tarantella, bronze; *529. Carpeaux, Dance, 
model of the group at the Opera (p. 79); 671. Duret, Neapolitan 
improvisatore, bronze ; no number, Clesinger, Bust of Mme. Sabatier; 
Jouffroy, The first secret; 778. Perraud, Childhood of Bacchus. 
No numbers, Schoenewerk, Girl at a fountain ; P. Cabet, After the 
bath; Dumont, Genius of Liberty, a model of that on the July 
Column (p. 181) ; Perraud, Farewell (a large relief) ; 2nd window 
on the right, Pradier, Sappho; Foyatier, Siesta; Feugere des Forts, 
Dead Abel. In the centre, *531. Carpeaux, Four quarters of the globe 
supporting the sphere, model of the group on the Fontaine de TOb- 
servatoire (p. 326). To the left and right, Carpeaux, *Flora (on 
loan); Degeorge, Infancy of Aristotle. Excellent busts on the walls, 
mostly by Carpeaux :*PrincessMathilde Bonaparte, Dumas, Laborde, 
Napoleon III., Giraud, Ed. Andre; also, Ugolino, a bronze statue 
originally in the Jardin des Tuileries. 

To reach the Picture Gallery hence we turn to the right on leaving and pass 
through the first pavilion to the principal entrance of the New Louvre, or 
we ascend the Escalier Henri II (p. 116), to the left in the pavilion. 

8* 



116 Eight Bank 4, LOUVRE. First Floor, 



B. FIRST FLOOR. 

The most important collection on the first floor of the Louvre is 
the Picture Gallery, which occupies nearly the whole of the S. con- 
necting gallery between the Old Louvre and the Tuileries (Oalerie 
du Bord de VEau), together with the whole of the inner gallery of 
the New Louvre parallel to it, and also several saloons in the Old 
Louvre. — The first floor of the Old Louvre also contains the Ancient 
Bronzes (p. 152), the Furniture of the 17th and 18th Cent. (p. 153), 
the Drawings (p. 155), the Mediaeval, Renaissance, and Modern 
Works of Art (p. 156), the Ancient Vases and the Smaller Asiatic 
and Egyptian Antiquities (pp. 158, 160), the Jewels fp. 149), and 
the Gems, Enamels, and Gold and Silver Plate (p. 147). 

The Principal Entrance to the first floor is by the Pavilion 
Denon (p. 95, where sticks, etc., may be left), whence the Escalier 
Daru ascends to the picture-gallery. 

Those who wish may ascend the Escalier Henri II (comp. p. 105), in the 
Pavilion Sully or Pavilion de VHorloge (to the W. of the court; C on the 
Plan), whence they proceed to the right to the Collection La Caze (p. 151), 
or to the left to the Ancient Bronzes (p. 152) and the Furniture (p. 153). 

The Escalier Daru is covered by a cupola adorned with alle- 
gorical mosaics representing the principal civilised races of antiquity 
and the Renaissance, and with medallions of celebrated artists, after 
Lenepveu. 

The staircase-landings are occupied by a Collection of Casts of sculp- 
tures excavated at Delphi and Delos by the Ecole Francaise of Athens 
(1892-98): Friezes from the treasuries of the Sikyonians and the Cnidians; 
two Apollos in the archaic style; an Antinous; a replica of the Diadumenos 
of Polycletus; the curious Sphinx of Kaxos; two heads of Caryatides; very 
interesting capitals, etc. 

On the top landing: *2369. Nike of Samothrace, on a pedestal 
representing the prow of a trireme. This figure, found in the island 
of Samothrace in 1863, was originally erected in memory of a naval 
victory won by Demetrius Poliorcetes about 305 B.C. The much 
mutilated statue represents the goddess on the prow of a vessel, in 
the act of sounding the signal for battle upon her trumpet. In dignity 
of conception and in the masterly handling of the voluminous drapery, 
this sculpture is perhaps the finest extant work of early-Hellenistic 
art. — In front of the door on the right, Victorious Charioteer, a 
votive offering of Polyzalos, cast from a bronze statue found at 
Delphi (B. C. 478-472). 

Thence we may either enter a rotunda (p. 146) by the door to 
the left of the Nike, passing thence into the Saloon of Antique 
Jewelry (p. 149), opposite; or we may pass through the Galerie 
d'Apollon (p. 146), on the right, at the end of which is the Salon 
Carre (p. 121). — The usual order is to begin at the colonnaded 
vestibule (door on the right). 

This Vestiotile formed part of a staircase removed when the Louvre was 
extended. Its ceiling is painted by Meynier: France as Minerva receiving 



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Picture Gallery. LOUVRE. Right Bank 4. 117 

homage from the Fine Arts. — Photographs of the pictures, drawings, and 
sculptures, hy Braun (p. 52), are sold in this vestibule. 

The next room, the Salle Duchdtel (p. 121), is the "beginning 
of the picture-gallery. 



**Picture Gallery. 

Catalogue Sommaire for the entire musee (1903 ; 1 fr. 20 c), on sale in 
the Galerie d'Apollon (p. 146), etc. 

The Picture Gallery of the Louvre comprises about 3000 works, 
almost every school being represented by numerous masterpieces. 
There are indeed some masters whose acquaintance can be satis- 
factorily made in the Louvre alone. We recommend the visitor to 
read the following general review of the most important works, as 
well as the various incidental notices of particular pictures by the 
late Sir Joseph Crowe and other distinguished authorities, before 
proceeding to view the gallery itself. 

Most visitors to the Louvre will of course be chiefly interested in 
the Italian Painters. The works of the 14-15th cent, are all recent 
acquisitions. Those of the Florentine School first attract our notice. 
The gallery possesses one authentic work of Cimabue (No. 1260 ) 
and one of Giotto (No. 1312). An excellent example of the tender 
and saintly style of Fra Angelico da Fiesole is his Coronation of Mary 
(No. 1290), while Benozzo Gozzolis Glory of St. Thomas Aquinas 
(No. 1319) affords an instance of the persistence with which the 
artists of that age clung to mediaeval ideas. Fra Filippo Lippi is 
admirably represented by a Madonna and Child (No. 1344); and 
Domenico Ghirlandaio by his powerfully conceived Visitation, of 
the year 1491 (No. 1321). Sandro Botticelli is worthily illustrated 
by a charming Madonna of his early period (No. 1296) and by the 
noble frescoes from the Villa Lemmi (Nos. 1297, 1298). The Madonna 
(No. 1263) of Lorenzo di Credi, Verrocchio's great pupil, is regarded 
as his masterpiece. The authenticity of Piero della Francesco's Ma- 
donna (No. 1300b) is contested. The strong and tonic art of his pupil, 
Luca Signorelli, the foremost painter of the Tuscan-Umbrian school, 
may, perhaps, be almost better studied in the small but luminous 
Nativity of the Virgin (No. 1525) and in the fragment of a large 
composition (No. 1527) than in the Adoration of the Magi (No. 1526)^ 
which is a work of his old age. — Perugino, the chief master of the 
Umbrian school, is well represented by an important early work, a 
round picture of the Madonna with SS. Rose and Catharine (No. 1564), 
by the Conflict between Cupid and Chastity (1505; No. 1567J, by 
the St. Sebastian from the Sciarra Gallery (No. 1566 a), and by several 
other works. — The Louvre also possesses several important creations 
of Andrea Mantegna, a master of Upper Italy : Mt. Parnassus (No. 1375) 
is perhaps the most harmonious of these, but the Victory of Minerva, 
the Madonna della Vittoria, and the small Crucifixion (Nos. 1376, 



118 Right Bank 4. LOUVRE. First Floor : 

1374, 1373) deserve careful study. — The evolution of Venetian 
painting may be traced in the San Giovanni Capistrano and St. 
Bernard of Bart. Vivarini and Crivelli (Nos. 1607, 1268), the ably 
individualized Condottiere of Antonello da Messina (No. 1134), the 
fine double-portrait of Giovanni Bellini (No. 1156), the Preaching of 
St. Stephen of Carpaccio (No. 1211), and the Madonna of Cima da 
Conegliano (No. 1259), with its magnificent Alpine landscape. — 
Among the Ferrarese works we note the realistic but deeply felt Pieta 
of Cosimo Tura (No. 1556) and the Court of the Muses by Lorenzo 
Costa (No. 1261). 

In pictures of the great Italian masters of the 16th cent. ('Cinque- 
cento') the Louvre is richer than any other gallery on this side of the 
Alps. Many of these were acquired by Francis I. In the first place 
stands Leonardo da Vinci, who spent the latter years of his life in 
France (1516-19). It is true that the authenticity of some of the 
works attributed to him here is contested. The small Annunciation 
of his early period (No. 1602 a) is one of these. .Others are the 'Vierge 
aux Rochers' (No. 1599), which many critics hold to be a copy, 
executed under the artist's supervision, of the picture in London, 
and the portrait known as 'La Belle Ferronniere' (No. 1600), but 
there is a growing tendency to hold all these works genuine. The 
vigorous St. Anna (No. 1598), which long passed for a cartoon 
executed by a pupil, dates from Leonardo's second sojourn in Florence. 
The great work of Leonardo in the Louvre is, however, his Mona Lisa 
(No. 1601), the most celebrated female portrait in the world, the 
sphinx-like smile of which has exercised the wits of generations of 
poets and artists and still fascinates in spite of the darkened con- 
dition of the canvas. A characteristic illustration of the state of 
religion in Leonardo's time is afforded by the fact that he has used 
the same model, and almost in the same attitude, for John the 
Baptist and for Bacchus (Nos. 1597, 1602). — Among the numerous 
excellent pictures of Leonardo's school, Boltraffio's Madonna of the 
Casio family (No. 1169) and the works of Bernardino Luini (frescoes 
in the Salle Duchatel) and Andrea Solario (Nos. 1530-33) merit 
especial attention. 

No gallery in Europe is so amply supplied with works of Raphael 
as the Louvre, nor affords such an opportunity for studying the various 
phases of his development. To his earlier period, before he had 
shaken off the influence of Perugino's school, belong the charming 
little pictures of St. George and St. Michael (Nos. 1503, 1502); the 
latter is even thought to date from his initial stage with Timoteo Viti. 
A gem of his Florentine period is the 'Belle Jardiniere', painted in 
1507 (No. 1496). The expression of maternal joy, the prevailing 
characteristic of his numerous Madonnas, is here most happily 
rendered. To his early Roman period belongs the 'Vierge au Voile' 
(No. 1497). His best period is illustrated by the portrait of Count 
Castiglione (No. 1505), painted in 1516. The Holy Family (No. 1498) 



Picture Gallery. LOUVRE. Right Bank 4. 119 

and the large St. Michael conquering Satan (1518 ; No. 1504) "belong 
to Raphael's last period, when he aspired to rival Michael Angelo in 
dramatic conception, relying for his colour-effects on violent con- 
trasts. These two works, however, were executed with considerable 
haste and with the help of pupils. The famous portrait of the beau- 
tiful Johanna of Aragon (No. 150?) appears to have been chiefly 
executed by Giulio Romano. — Andrea del Sarto and Fra Bartolomeo 
are well represented, the former especially by his celebrated Caritas 
(No. 1514), the latter by a large Holy Family (No. 1154). 

Correggio is seen at the Louvre in two works only, but both of 
these are fine : the Marriage of St. Catharine (No. 1117) and Jupiter 
and Antiope (No. 1118). 

Of all the great masters Titian is, perhaps, the most brilliantly 
represented in the Louvre. The religious scenes are the most im- 
portant. The Madonna with the rabbit and the Rest on the Flight 
into Egypt (Nos. 1578, 1580) reveal the artist as a sympathetic delin- 
eator of domestic idylls. The Christ at Emmaus (No. 1581), in the 
genre style, is full of life, while the Entombment (No. 1584), perfect 
alike in lighting and colouring, in grouping and action, and the 
imposing Christ crowned with thorns (No. 1583) are full of the most 
effective and dramatic pathos. A work over which the master has 
shed a radiant poetic halo is the Jupiter and Antiope (No. 1587). 
The landscape in the background here is very fine ; while in the 
St. Jerome (No. 1585) the landscape, with its solemn and effective 
lighting, has practically become the most important element in the 
composition. But to appreciate fully the genius of Titian, the 
portraits by him must also be considered, e.g. the picture known 
as Titian and his Mistress (No. 1590), representing Alfonso of 
Ferrara and Laura de' Dianti. One of Titian's most curious character- 
studies is the Portrait of Francis I. (No. 1588). The Young man 
with the glove (No. 1592, 'L'homme an gant') is another excellent 
portrait. That of Alfonso d'Avalos, Marchese del Vasto, the famous 
general of Charles V. (No. 1589), is allegorical in treatment, -r- Palma 
Vecchio is represented by a fine Adoration of the Magi (No. 1399). 
An injustice would be done to Oiorgione if we judged him by the 
Rustic Festival (No. 1136), highly as this work has been praised. — 
For the study of Paolo Veronese the Louvre is second only to 
Venice, though several of the thirteen canvases attributed to him 
in the former are certainly by pupils. His large banqueting scenes 
and his admirable Christ at Emmaus (No. 1196) greatly influenced 
the work of Delacroix. 

The renown of the Spanish pictures in the Louvre had its origin 
in a time when Spain was seldom visited by travellers, and when 
the treasures which Madrid and Seville possessed were known only 
in limited circles. However, the Louvre still contains more Spanish 
works than any other gallery out of Spain. Justi maintains that the 
small sketch (No. 1734) of thirteen figures and the portrait of the 



120 Right Bank d. LOUVRE. First Floor: 

Infanta Margaret (No. 1731) are the only genuine examples of 
Velazquez in the Louvre, hut the portrait of the Infante (No. 1735) 
from the La Oaze collection is prohahly authentic also. Murillo, on 
the other hand, is splendidly represented. The most famous of his 
works in this collection is the 'Conception' (No. 1709), while the 
hrilliant Nativity of the Virgin (No. 1710), the 'Cuisine des Anges' 
(No. 1716), and the Beggar Boy (No. 1717) are also admirahle spe- 
cimens of Ms power. Ribera and Zurbaran are well represented. 
Among the recent acquisitions are the Portrait of Ferdinand of 
Aragon , hy Domenico Theotocopuli (el Greco), and two portraits 
(Nos. 1705 a, 1705 h) hy Goya, the greatest of the Spanish realists of 
the early 19th cent., who was previously represented hy a single 
canvas only (No. 1704). 

The Louvre is unusually rich in paintings of the Flemish School, 
mainly of its later period. Among the earlier works the most note- 
worthy is Jan van Eyck J s Madonna revered hy the Chancellor Rollin 
(No. 1986). With this may be ranked Mending's large Madonna in the 
Duchatel Collection (No. 2026), a Descent from the Cross by Rogier 
van der Weyden (No. 2196), and the Banker and his wife (No. 2029) 
and the Madonna (No. 2030a) by Quinten Matsys. — The late- 
Flemish school is magnificently represented by Rubens , by whose 
brush the gallery possesses 21 large scenes from the life of Marie 
de Me'dicis (p. 133). These large decorative works are remarkable 
for their richness of colouring, their lifelike vigour, and their 
strangely effective combination of allegory and realism. The other 
pictures by Rubens, though somewhat inferior to those at Antwerp, 
Munich, and Vienna, afford ample opportunity for a study of the 
great painter. The broad humour of his Flemish Fair (No. 2115) 
exhibits him to us in an entirely new light. — The large and 
splendid portrait of Charles I. of England (No. 1967) and that of 
Francisco de Moncada (1971) are the best of the many fine works of 
Van Dyck which the Louvre possesses. — The collection of 34 
pictures by the ever- green David Teniers, on whom Louis XIV 
looked with contempt, stigmatizing his works as daubs ('otez-moi 
tous ces magots'), now forms one of the chief boasts of the gallery. 
More than half of them were presented by La Caze (p. 151) in 1869. 
— Snyders and Jordaens are also well represented. 

The Dutch Mastees of the 17th cent, can be thoroughly appre- 
ciated only on their native soil, but the Louvre gallery possesses 
good specimens of the handiwork of all the most celebrated. Rem- 
brandt contributes no fewer than twenty works. The best of the 
religious paintings are the Christ at Emmaus (No. 2539 ; of striking 
power) and the Angel and Tobias (No. 2536), a work of marvellous 
poetry and unexcelled in lighting and harmony of motion. The two 
Philosophers and the 'Carpenter's Family' (Nos.2540-42) are charm- 
ing interiors; the Batbsheba (No. 2549) is an excellent though 
realistic female study. The portraits are chiefly of his later period, 



Picture Gallery. LOUVRE. Right Banle 4. 121 

the most effective being, perhaps, that of himself, painted in 1660 
(No. 2555). The portraits of a young man and young woman 
(Nos. 2545, 2547) are admirable examples of his later period. — 
The vigorous brush-work of Frans Hals is illustrated in his por- 
traits of theBeresteyn family (Nos. 2386-88), the portrait of Descartes 
(No. 2383), and the Laughing Girl (No. 2384). Van der Heist also is 
well represented by his Guild Masters (No. 2394). — The most 
famous of the small genre pictures are Terburg's Officer and Girl 
(No. 2587), Metsu's Officer saluting a lady, Don's Woman with the 
dropsy (No. 2348) and Village grocer (No. 2350), Jan Steens Tavern 
Festival (No. 2578), A. van Ostades Schoolmaster (No. 2496), and 
an Interior by P. de Hoogh (No. 2414). — The bsquest of Baron 
Rothschild in 1904 added several magnificent landscapes by J. van 
Buysdael and Hobbema to those already in the Louvre. Salamon 
Ruysdael, on the other hand, has not been worthily represented 
until quite recently. 

The only Early German painter adequately represented in the 
Louvre is Holbein, the best of whose eight portraits are those of 
Kratzer the astronomer (No. 2713), Erasmus (No. 2715), Abp. 
Warham of Canterbury (No. 2714), and Anne of Cleves (No. 2718). 

There are but twenty British Pictures in the Louvre. The 
attentive student of the landscapes of Wilson, Gainsborough, Con- 
stable, and Bonington, and of the portraits of Baeburn, Hoppner, and 
Lawrence, may nevertheless form an idea of the singular role played 
by this school as in some measure the connecting link between 
French art of the 18th cent, and the school of 1830. 

Our notes on the French School will be found in the Intro- 
duction (p. xxxiii). 

From the Vestibule (p. 116), which is reached by the Escalier 
Daru, we enter (opposite) the — 

Salle Duchatel, or Salle V., with a ceiling-painting (Apotheosis 
of the great French artists), by Mtynier. In this room are several 
frescoes of Bernardino Luini, transferred to canvas : 1357, 1358. 
Two boys with vine-foliage (more probably by Bart. Suardi, surnamed 
Bramantino), 1359. Nativity, *1360. Adoration of the Magi, *1361. 
Christ pronouncing a blessing. Here also are the paintings bequeathed 
by the Comtesse Duchatel : 421. Ingres, GMipus solving the riddle 
of the Sphinx (1808); *422. Ingres, The Spring, the artist's master- 
piece, finished in 1856 ; *2026. Mending, Madonna and Child, with 
the donors ; *2480, *2481. Ant. Moro (Sir Anthony More), Portraits. 
In the radiating stands are drawings by Italian masters, from the 
His de la Salle Collection (p. 155). — On our first visit to the gallery 
it is, however, advisable to traverse the Salle Duchatel without 
stopping and begin our inspection with the — 

*Salon Carre , or Salle IV , which contains the chief works of 
the Italian, particularly of the Venetian, School and a few celebrated 



122 Right Bank 4. LOUVRE. First Floor : 

masterpieces of other schools, f The ceiling is richly sculptured by 
Simart. 

To the right of the entrance: 1136. Giorgione (Barlarelli), Rustic 
festival : very charming from the depth and waTmth of the colouring, 
the golden glow of the flesh tones, and the rich treatment of the land- 
scape, in spite of its having been freely retouched. *1505. Raphael, 
Portrait of Count Baldassare Castiglione (who wrote a poem on this 
picture), painted about 1516, with masterly management of the 
colour. — **1117. Correggio (Allegri), Betrothal of St. Catharine of 
Alexandria; 'so beautiful are the faces that they seem to have been 
painted in Paradise', says Yasari. 

**1601. Leonardo da Vinci, Portrait of Mona (Madonna) Lisa, 
wife of the painter's friend Fr. del Giocondo of Florence, and hence 
known as 'La Gioconda'. Leonardo worked four years on this paint- 
ing and then left it unfinished. 

*15S9. Titian, Allegory painted for Alfonso d'Avalos, Marchese 
del Vasto (d. 1546), representing that general taking leave of his 
wife, sister of Johanna of Aragon, when summoned by the emperor 
to Vienna in 1532 to fight against the Turks. 

*1731. Velazquez, Infanta Mary Margaret, afterwards wife of Leo- 
pold I. of Austria. — *1190. Paolo Veronese, Holy Family. 

Above: *1193. Paolo Veronese, Christ in the house of Simon the 
Pharisee, painted in 1570-75. — *1464. Tintoretto (Jac. Robusti), 
Susannah and the Elders. — Above, 1221. Annibale Carracci, Pieta. 

*1498. Raphael, 'Holy Family of Francis I.' (painted at Rome 
in 1518). 

Above, 1453. Guido Reni, Hercules and Achelous. 

*741. N. Poussin, Diogenes throwing away his bowl, a serene 
and luminous composition. Above, 1427. Jac. da Ponte (Bassano), 
Descent from the Cross. — 1673. Venetian School (16th cent.), 
Portrait. 

**1496. Raphael , Madonna and Child with St. John , usually 
called 'La Belle Jardiniere'; Florence, 1507. 

1644. Italian School (16th cent.), Portrait of a youth, which has 
been attributed successively to Raphael, Francia, Ghirlandaio, 
Franciabigio, Bugiardini, and Albertinelli. — Above, 437. Jouvenet 
( l le Grand 1 ), Descent from the Cross (1697). Above the door: 1150. 
Barocci, Virgin enthroned. 

*1598. Leonardo da Vinci, Madonna and Infant Christ with 
St. Anne. 

This cartoon was brought to France by Leonardo and was probably 
executed by himself. It, however, afterwards found its way back to Italy, 
where Richelieu bought it in 1629. The drapery of the Madonna has lost 
its colour. — There are several sketches for this picture at Windsor. 

Above, 1453. Guido Reni, Hercules on the funeral pyre. 
On the next wall: 1179. Paris Bordone, Portrait. 



•f A list of the artists with their dates, etc., will be found at p. 447. 



Picture Gallery. LOUVRE. Bight Bank 4. 123 

*1590. Titian, 'La Maitresse du Titien', a girl at a toilet- table, 
with a man behind her with two mirrors, probably Lanra de' Dianti 
and Duke Alfonso of Ferrara, painted shortly after 1520. 

'The light is concentrated with unusual force npon the face and hust 
of the girl, whilst the form and features of the man are lost in darkness. 
We pass with surprising rapidity from the most delicate silvery grada- 
tions of sunlit flesh and drapery to the mysterious depth of an almost 
unfathomable gloom , and we stand before a modelled balance of light 
and shade that recalls Da Vinci, entranced by a chord of tonic harmony 
as sweet and as thrilling as was ever struck by any artist of the Vene- 
tian school.'' C. & C. 

*743. N. Poussin, Portrait of the artist. Above, 1143. Ouercino 
(Barbieri), Patron-saints of Modena. 

**1192. Paolo Veronese , Marriage at Cana , finished in 1563, 
a perfect 'symphony in colours'. This is the largest picture in the 
collection, being 32 ft. long and 21 ft. high, and occupies nearly 
the whole S. wall. 

In all probability it celebrates the marriage of Eleanor of Austria to 
William Gonzaga in 1561. Hence the numerous portraits, the identity of 
which has been much canvassed. The musicians are portraits of Venetian 
painters of the day. Paolo Veronese himself, in white, plays on the viol, 
behind him Tintoretto with a similar instrument, on the other side Titian 
with a bass-viol, and the elder Bassano with a flute. 

*1592. Titian, Young man in black, holding a glove, or 'L'Homme 
au Gant', an admirable portrait of his middle period (comp. p. 119) ; 
1354. B. Luini, Infant Christ asleep. *1588. Titian, Portrait of 
Francis I. of France, painted from a medal, and yet reproducing the 
characteristically quaint features and royal bearing of that monarch. 
Above, 1219. Annibale Carracci, The Madonna appearing to St. Luke 
and St. Catharine. 

*1504. Baphael, St. Michael the conqueror of Satan, painted in 
1518; a work of sublime poetical character. Above, 1457. Guido 
Beni, Hercules and the Lernsean hydra. 

Above the door to the Galerie d'Apollon (p. 146) : 1242. After 
Pontormo (Jacopo Carrucci), Visitation. 

**1584. Titian, Entombment of Christ, a picture of marvellous 
effectiveness, painted for the Duke of Mantua about 1523. 

Above, *1198. Paolo Veronese, Jupiter hurling thunderbolts 
against the Crimes, once a ceiling-painting in the assembly-hall of 
the Council of Ten in the Doges' Palace at Venice. 

To the left, *1583. Titian, Christ crowned with thorns, painted 
about 1560. Above, 1538. L. Spada, Concert. 

*1118. Correggio , Antiope and Jupiter disguised as a satyr, 
painted about 1518 for the Duchess of Mantua. Above, 1454. 
Guido Beni, Dejaneira carried off by the Centaur Nessus. — Over 
the entrance to the Salle Duchatel: 723. Nic. Poussin, St. Francis 
Xavier resuscitating a dead woman in Japan (1641), 

We may now pass through the door nearly opposite and enter 
the Grande Galerie (p. 125); but in order to obtain a better chrono- 



124 Right Bank 4. LOUVRE. First Floor : 

logical survey of the Italian School, it is advisable to visit next the 
so-called Salle des Primitifs, the first saloon on the right. 

The Salle des Primitifs Italiens, or Salle VII, also called Salle 
des Sept Metres (comp. the Plan, p. 116), contains chiefly pictures by 
Florentine masters of the 14th and 15th centuries. 

To the right of the entrance: 1566. Perugino (Pietro Vanucci), 
St. Paul. — Right wall : 1323. Benedetto Ghirlandaio, Christ on the 
way to Golgotha ; *1263. Lorenzo di Credi, Madonna and Child with 
saints; 1528. School of Signorelli, Madonna and Child; 1482. Cosimo 
Rossellift), Madonna enthroned; Luca Signorelli, *1527. Fragment 
of a larger composition, 1525. Nativity of the Virgin; 1661. Florentine 
School (15th cent.), Madonna and saints; 1415 and (farther on) 
1414. Francesco Pesello (Pesellino; more probably by Fiorenzo di 
Lorenzo?), Resurrection of Christ, SS. Cosmas andDamian, St. Francis 
receiving the stigmata. 

*1319. Benozzo Gozzoli, Triumph of St. Thomas Aquinas. 

Above is Christ, with Paul, Moses, and the Evangelists. In the centre 
of the glory, St. Thomas Aquinas between Aristotle and Plato 5 at his feet, 
overwhelmed by his eloquence, is Guillaume de St. Amour, a professor of 
the Sorbonne and an opponent of the mendicant orders; below, assembly 
at Anagni, with Pope Alexander IV. 

Fra Giovanni Angelico da Fiesole , *1290. Coronation of Mary, 
with predella, 'the colouring worthy of an angel's hand' (Vasari), 
1291. Beheading of John the Baptist, 1293. Martyrdom of SS. Cosmas 
and Damian; above, 1348. Lorenzo Monaco, SS. Laurence, Agnes, 
and Margaret (triptych); 1422bis. Vittore Pisano, A princess of the 
house of Este; 1279. Gentile da Fabriano (more probably by Jac. 
Bellini after Ricci), Madonna with Pandolfo Malatesta; 1278. Gentile 
da Fahriano, Presentation in the Temple; *1383. Simone Martini, 
called Memmi, Christ on the way to Golgotha. 

On the wall at the end (the door, sometimes closed, gives on the 
Escalier Daru and the French rooms on the left, p. 144) : 1 151. Bartolo 
(Sienese painter), Presentation in the Temple ; 1302. Taddeo Gaddi, 
Beheading of John the Baptist, Mt. Calvary, Christ and Judas Iscariot, 
and Death of a martyr (triptych) ; *1260. Cimabue, Madonna and 
angels, from San Francesco at Pisa (freely restored) ; *1312. Giotto, 
St. Francis of Assisi receiving the stigmata ; below, Vision of In- 
nocent III. , the same pope confirming the statutes of the order of 
St. Francis, and St. Francis preaching to the birds : a genuine, 
signed picture, painted for San Francesco at Pisa. 

On the left wall : 1301. Taddeo Gaddi, Annunciation; no numbers, 
Lorenzo Monaco, Christ at Gethsemane, Holy women at the tomb. 
Farther on, five interesting works of the School of Giotto. Then : 
1345. School of Fra Filippo Lippi, Virgin and Child; 1273. Paolo 
di Bono (called. P. Vccello), Battle of San Romano in 1432 ; no 
number, Florentine School (15th cent), Virgin and angels; *1272. 
Paolo Vccello, Portraits of Giotto, Uccello, Donatello, Manetti, and 
Brunelleschi; 1658. Florentine School (15th cent.), St. Jerome; Fra 



Picture Gallery. LOUVRE. Right Bank d. 125 

Filippo Lippi, *1344. Madonna and Child with two sainted abhots, 
*1343. Nativity (studio-piece?); 1643a. Florentine School, Esther 
and Ahasuerus; 1300a (b in the catalogue), Piero delta Francesca 
(? perhaps Alessio Baldovinetti), Madonna; Domenico Ghirlandaio, 
•1321. Visitation, a powerful work (1491), *1322. Portraits of an 
old man and a boy. — 1367a. Bastiano Mainardi, Madonna; *1296. 
Sandro Botticelli, Madonna with the Child and John the Baptist 
(a fine youthful work). — 1300 a. School of Botticelli, Madonna and 
Child; 1367. Mainardi, Madonna and Child. — Above, 1663a. North 
Italian School, Portrait. 

On the entrance-wall : 1295. Botticelli, The Magnificat. Above 
the door : 1512. Lo Spagna (? not Raphael), God the Father and two 
angels, fresco removed from the Villa Magliana near Rome. 

The Grande Galerie, or Room VI (comp. Plan, p. 96), is divided 
into six bays ('Travees') marked A, B, C, D, E, F on the dividing 
arches. It contains the remaining works of the Italian Schools, 
and also the Spanish, British, German, and part of the Flemish 
pictures, and the pictures by Rembrandt, 

Bat A : Italians (continued). 

To the right: 1274. Florentine School, St. John the Baptist; 
1372. Qiannicola di Paolo Manni, Holy Family ; Perugino, 1567. 
Conflict between Cupid and Chastity (see below, No. 1261), 1565. 
Holy Family; Francesco Francia (Raibolini) , *1436. Crucifixion, 
1435. Nativity, 1437. Virgin and Child (school - piece). Above, 
1261. Lorenzo Costa, Court of the Muses, held by Isabella d'Este, an 
attractive allegory. This picture, together with Nos. 1375, 1376, and 
1567, originally hung in the 'Paradiso', Isabella's private suite in 
the Corte Reale at Mantua. — 1241. Pontormo (Jacopo Carrucci), 
Portrait of an engraver; 1417. School of Pinturicchio, Madonna and 
Child; 1422. Giulio Romano, Portrait; above, 1556. Cosimo Tura, 
Pieta, a crude work, but charged with feeling; 1167. Francesco 
Bianchi (?), Madonna and Child, between SS. Benedict and Quentin; 
1676 (formerly No. 2721), North Italian School (ca. 1500; Lod, 
Brea of Nice?), Annunciation (triptych); above, *1114. Mariotto 
Alhertinelli, Madonna and Child between SS. Jerome andZenobius; 
1436a. Francia, Madonna and saints ; 1608. Paolo Zacchia UVecchio, 
Portrait of a musician; 1516. Andrea del S art o, Holy Family; 1264, 
Lorenzo di Credi, Christ and the Magdalen (Noli me tangere) ; 1651 a, 
Andrea del Sarto, Portrait of Andrea Fausti, counsellor of the Medici ; 
above, 1603. Copy of Leonardo da Vinci's fresco of the Last Supper, 
probably by his pupil Marco da Oggiono, one-third smaller than the 
original; 124Q- Pontormo, Holy Family; 1174. Bartolomeo Bononi, 
Virgin and Child; *1418. Giulio Romano, Nativity. 

To the left, beginning again at the entrance: *1526. Luca 
Signorelli, Adoration of the Magi; 1303. Raffaellino del Garho, Coro- 
nation of the Virgin ; above, *1677, North Italian School, Figures 



lZb Bight Bank d. LOUVRE. First Floor: 

in front of a portico; 1416. Piero di Cosimo, Coronation of the 
Virgin; Fra Bartolomeo, 1154. Holy Family, *1153. Annunciation; 
1133. Michaelangelo Anselmi, Virgin "between St. Stephen and 
St. John; 1515. Andrea del Sarto, Holy Family; Agnolo Bronzino, 
1184. Portrait of a sculptor, 1183a. Holy Family; 1384. Massone, 
Altar-piece in three parts ; above, 1285. Oaudenzio Ferrari, St. Paul; 
Borgognone, 1181. Presentation in the Temple, 1182 a. St. Augustine 
and donor, 1182. St. Peter of Verona, with a hatchet in his head, 
and a kneeling woman; 1602a (formerly No. 1265; below, no label), 
Leonardo da Vinci, Annunciation; *1488. Sacchi, The four Church 
Fathers (or the Evangelists?) ; Leonardo daVinci (see p. 118), *1597. 
John the Baptist, *1599. Holy Family, known as 'La Vierge aux 
Rochers', a work of high excellence (the shadows have, unfortunately, 
become very dark), *1600. Female portrait, presumed to be that of 
Lucrezia Crivelli (perhaps by Boltraffio'), and formerly called 'La belle 
Ferronniere' (mistress of Francis I. ; the French name for the ornament 
she wears on her forehead is 'ferronniere'), 1602. Bacchus (school- 
piece); Andrea Solario, *1532. Crucifixion (1503), fascinating in 
colour, *1531. Portrait of Charles d'Amboise, governor of Milan under 
Louis XII, 1530. Madonna with the green cushion (with a beautiful 
landscape), 1533. Head of John the Baptist; Bernardino Luini, 1356. 
Forge of Vulcan, *1355. Daughter of Herodias, 1353. Holy Family; 
1604. School of Leonardo (perhaps Cesare da Sesto), Madonna with 
the scales; *1169. Boltraffio, Madonna of the Casio Family (1500). 
On a stand between the columns of bay B : to the right, 1462. 
Daniele da Volterra (Bicciarelli), David and Goliath; to the left, the 
same subject seen from the other side. 

Bat B : Italians (continued). 
Left wall: *1376. Andrea Mantegna , The Vices banished by 
Wisdom, with charming putti (comp. No. 1261 on p. 125); 1158. 
Giovanni Bellini(?), Madonna with SS. Peter and Sebastian (in- 
scription forged ?) ; above, 1268. Carlo Crivelli, St. Bernardino of 
Siena ; Andrea Mantegna, *1374. Madonna della Vittoria, one of his 
last works, painted for Giov. Franc. Gonzaga, Duke of Mantua, in 
commemoration of the battle of Taro (1495) ; *1373. Crucifixion, 
one of the predelle of the large altar-piece of San Zeno at Verona 
(1495) ; above, 1607. Bart. Vivarini, San Giovanni da Capistrano 
*1375. A. Mantegna, Mount Parnassus (see No. 1261 on p. 125) 
*1158a. Giov. Bellini, Portrait; *1156. Gentile Bellini, Portraits 
1157. School of Gentile Bellini (more probably by Vincenzo di Biagio 
surnamed Catena), Reception of a Venetian ambassador at Cairo 
*1134. Antonello da Messina, Portrait of a young man, generally 
known as the Condottiere (1475), full of energy; *1211. Vittore 
Carpaccio, Preaching of St. Stephen ; *1259. Cima da Conegliano, 
Madonna and Child; above, 1351. Lor. Lotto, Holy Family; *1399. 
Palma Vecchio, The Shepherds receiving the good tidings (spoiled) ; 



Picture Gallery. LOUVBE. Right Bank d. 127 

1318. Girolamo dai Libri (?), Virgin and Child; 1135. Giorgio 
Barbarelli, surnamed Giorgione (perhaps "by Palma Vecchio ?), Holy 
Family; 1252a. Vincenzo di Biagio (Catena), Portrait (on the back, 
Heraldry with an allegory); *1352. Sebastiano del Piombo, The Visit- 
ation (Rome, 1521 ; unfinished), a most impressive picture ; Bart. 
Montagna, 1393. Ecce Homo, 1394 (below No. 1352), Juvenile trio ; 
1350. Lor. Lotto, St. Jerome, in a beautiful rooky landscape, a youth- 
ful work (1500); *1577. Titian, Madonna and Child with saints; 
Alessandro Bonvicino, surnamed Moretto, 1176 (above), SS.Bonaven- 
tura and Anthony of Padua, 1175. SS. Bernardino of Siena and Louis 
of Toulouse; above, 1180a. Paris Bordone, Female portrait; 1594. 
Titian, Portrait of a Knight of Malta; 1519. Savoldo, Portrait; 
1464^3. Tintoretto, Dead Christ and two angels. 

Still on the left, a farther series of excellent works of the Venetian 
school. — Titian, 1579. Holy Family (perhaps not entirely by the 
master's own hand), *1580. Holy Family, *1581. Supper at Emmaus 
(ca. 1547), *1578. 'La Madonna del Coniglio', or the Virgin with the 
rabbit, painted in 1530, *1593. Portrait, 1585. St. Jerome (comp. 
p. 118). Above No. 1580: 1395. Moroni, Portrait of an old man. 
1674 d. Bonifazio, Madonna with SS. John, Paul, Joseph, and Ursula. 

*1196. Paolo Veronese, Christ at Emmaus (to the right, por- 
traits of the painter, his wife, and his brother) ; *1591. Titian, Por- 
trait of a man in black; above, 1674e. Venetian School (16th cent.; 
Tintoretto ?), Madonna enthroned in clouds ; 1586. Titian, Council 
of Trent; Tintoretto, 1467. Portrait, *1465. Paradise ; above, 1171. 
Bonifazio, Holy Family. Paolo Veronese, 1199. Young mother, 1195. 
Golgotha; 1185. Johannvon Calcar, Portrait of a young man ; above, 
1180. Bordone, Man and child. 

To the right (beginning at the end of Bay A) : Paolo Veronese, 
1187. Destruction of Sodom, 1194. Bearing of the Cross (unfinished), 
1188 (above), Susannah and the Elders. 1582. Titian, Christ on the 
way to Golgotha. Below, 1423. Bassano (Jacopo da Ponte), The 
animals entering the Ark ; 1349. Lor. Lott o, Christ and the adulteress. 

**1587. Titian, Jupiter and Antiope, known as the 'Venus del 
Pardo', painted in 1574. Comp. p. 119. 

'Though injured by fire, travels, cleaning, and restoring, the master- 
piece still exhibits Titian in possession of all the energy of his youth, 
and leads us back involuntarily to the days when he composed the 
Bacchanals. The same beauties of arrangement, form, light, and shade, 
and some of the earlier charms of colour are here united to a new scale 
of effectiveness due to experience and a magic readiness of hand. . . . The 
shape of Antiope is modelled with a purity of colour and softness of rounding 
hardly surpassed in the Parian marble of the ancients.' C. <b C. 

Tiepolo, *No number, Vigorous design for a ceiling-painting, 1547. 
Last Supper. Above, 1574. Padovanino (Varotari), Venus and Cupid; 
1413. Ant. Pellegrini, Allegory. Guardi, 1331, 1333, and (farther on) 
1334, 1330. Venetian fetes. *1203. Canaletto ( Antonio CanaZeJ,Grand 
Canal at Venice. Above, 1425. Bassano (Jacopo da Ponte), "Wedding 
at Cana. 



128 Right Bank 4. LOUVRE. First Floor : 

1328, 1332, 1329. Guardi, Views in Venice; 1189. Paolo 
Veronese, Swoon of Esther (very lifelike and dramatic). 

Farther on, to the right, beyond the door of Room VIII (p. 145): 
1197. Paolo Veronese, St. Mark crowning the three theological virtues, 
probably intended for a ceiling. Panini, 1403. Interior of St. Peter's 
at Rome, 1409. Concert at Rome; 1149. Barocci, Circumcision; 
Annibale Carracci, 1233. Hunting, 1232. Fishing ; Guido Reni, 1450. 
St. Sebastian, 1439. David with the head of Goliath; *1613. Domeni- 
chino (Zampieri), St. Cecilia; 1163. Pietro da Cortona, Madonna; 
above, 1139. Guercino, Raising of Lazarus; 1288. Feti, Melancholy. 

Bat C: Italians (Raphael). 

To the right: *1564. Perugino, Madonna and Child, with two 
angels, SS. Rose and Catharine; 'an early work, remarkable for 
clearness of outline, pure and rich brilliancy of colour, and soft, pale 
yellow flesh tone' (C. & C). — 1566A. Perugino, St. Sebastian, one 
of his latest works ; 1511 (above), School of Raphael, St. Catharine 
of Alexandria; 1539. Lo Spagna, Nativity. 

To the left: 1513 b. After Raphael, Madonna with the carnation, 
copy of a lost original; above, 1513 a. Raphael^), Vision of Ezeki el 
(God the Father above the symbols of the Evangelists) ; Raphael, 
1508. Portraits, 1500 (above), John the Baptist in the wilderness, 
probably by a pupil from a sketch by the master; 1668a. TJmbrian 
School, St. Sebastian; Raphael (?), 1509A (above 1668a), Head of 
St. Elizabeth, *1506. Portrait of a young man, painted after 1515 
(long erroneously regarded as a portrait of himself) ; *1509. Perugino 
(not Raphael), Apollo and Marsyas. Raphael, *1497. Madonna with 
the veil, also called the Virgin with the blue diadem, *1501 (above), 
St. Margaret (painted by a pupil), *1503. St. George, *1499 (above), 
Small Holy Family, *1507. Portrait of Johanna of Aragon, painted 
in 1518 (the head only, according to Vasari, by Raphael, the rest by 
Giulio Romano), *1502. St. Michael (youthful work). Above, 1420. 
Giulio Romano, Triumph of Vespasian. 

Bat D : Italian, Spanish, British, and Gkkman Masters. 

To the right: Caravaggio, 1122. Fortune-teller, *1124. Portrait 
of Alof de Wignacourt, Grand Master of the Order pf Malta (1601), 
1123. Concert, *1121. Death of the Virgin ; 1368. Manfredi, Fortune- 
teller; Salvator Rosa, 1480. Scene in the Abruzzi, with soldiers, 
1478. Saul and the Witch of Endor, *1479. Cavalry engagement, 
'a work of rare energy and singular beauty*. — There are a few more 
Italian pictures in Room IX (p. 139). 

Beyond the door of Room IX begins the Spanish School. Murillo, 
1712. Madonna with the rosary, 1715. Scourging of Christ, 1714. 
Jesus in Gethsemane, *1716. Miracle of St. Diego, known as the 
'Cuisine des Anges' (a poor convent provided with food by angels), 
a singular mixture of mysticism and realism; 1725a. Attributed to 
Rilera (Spagnoletto), Descent from the Cross. 



Picture Gallery. LOUVRE. Bight Bank 4. 129 

To the left ("beginning over again) : 1706. Herrera the Elder, 
St. Basil expounding his doctrines ; no number, Theotocopuli (El 
Greco), *Portraitof King Ferdinand of Aragon; above, 1703. Collantes, 
The Burning Bush; Ribera, *1723. St. Paul the Hermit, 1722. En- 
tombment, *1721. Adoration of the Shepherds (a beautiful re- 
presentation of the Virgin of the Spanish type; 1650); 1734. 
Velazquez, A party of thirteen persons (sketch); *1708. Murillo, 
Immaculate Conception; no number, Spanish School (17th cent.), 
Head of a man. 

**1709. Murillo, The Immaculate Conception, one of his greatest 
works (1678), pervaded with an intense sentiment of religious en- 
thusiasm. As usual in the Spanish School, the master has drawn 
his inspiration from the 'woman clothed with the sun, and the moon 
under her feet, and upon her head a crown of twelve stars (Rev. 
xii. 1). The picture was bought in 1852 from Marshal Soult for 
615,300 fr. (24,6000- — Murillo, **1710. Birth of the Virgin, a 
masterpiece of wonderfully fresh colouring (1655), *1717. Beggar- 
boy 'cherchant a detruire ce qui i'incommode' (the intent expression 
is full of life and the light admirable), *1713. Holy Family (the light 
and the harmonious colouring are of great beauty); 1732. Velazquez, 
Philip IV. of Spain (the original at the Prado); 1739, *1738. 
Zurbaran, Two scenes from the legend of St. Bonaventura (1629); 
Goya, 1705. Portrait of a young woman, 1705A. Lady with a fan, 
1704. Guillemardet, French ambassador at Madrid, 1705 B. The 
minister-president Perez de Castro. 

British School. To the right, beyond the window (covered in 
winter with a green curtain) : 1805bis. Bonington, The old gover- 
ness; above, 1813. Lawrence, Lord Whitworth; no number, William 
Etty, Woman bathing ; 1812bis. Hoppner, Countess of Oxford ; above, 
1816. Opie, The woman in white; *1804, 1805, no number, Bonington, 
Landscapes; Constable, *1808. Bay of Weymouth, 1807. The rain- 
bow; 1818. Allan Ramsay, Charlotte Sophia, Princess of Wales; 
1816A. Phillips, Portrait of Lamartine; 1817A. Raeburn, Portrait. — 
Then the German school (see below). 

To the left, beginning over again: 1809. Constable, Hampstead 
Heath; Bonington, 1803. Card. Mazarin and Anne of Austria, 1802. 
Francis I. and the Duchesse d'Etampes; above, 1818A. Romney, 
Sir John Stanley; no number, Hoppner, Mother and son; 1813 A. 
Lawrence, Portrait of the painter Jules Angerstein and his wife 
(1792); no number, Raeburn, ^Portrait of Mrs. Maconichie with her 
child;' above, 1810. Constable, The Glebe Farm (spoiled); 1817. 
Raeburn, Naval pensioner; 1819. R. Wilson, Landscape; 1801. 
Beechey, Brother and sister; 1806. Constable, The cottage; 1814. 
Morland, The halt ; no number, Reynolds, *Portrait of a woman. 

Gebman School. To the right: 2706. Denner, Old woman; 
2712. Heinsius, Princess Victoire, daughter of Louis XV; 2751, 
2752. Melchior Wyrsch (Swiss), Man and wife; *2722. Angelica 

Baedeker. Paris. 16th Edit. 9 



130 Right Bank 4. LOUVRE. First Floor: 

Kauffmann, Portraits of Baroness Kriidener and of her daughter; 
2723. Raphael Mengs, Queen Maria Amalia Christina of Spain 5 2738. 
Master of the Death of the Virgin (Cologne; 16th cent.), Last Supper, 
Preparation for the Entomhment, and St. Francis of Assisi; "beside it, 
2736a. German School (15th cent), Madonna; no number, German 
School, St. Adrian; Durer, *2709. Head of an old man, 2709A. Head 
of a child; 2738 d (above) and 2738c (farther on), Master of 
St. Severin (Cologne; 16th cent.), Scenes from the life of St. Ursula; 
*2745A. German School (16th cent.), The Flagellation; 2724. 
Mignon, Chaffinch's nest; 2745. German School (16th cent.), Judg- 
ment of Paris; 2705. Lucas Cranach the Elder, Portrait. 

To the left, beginning again: Holbein the Younger, *2713. Portrait 
of Nic. Kratzer of Munich, astronomer to Henry VIII. of England, 
dated 1528, 2719. Portrait of Sir Richard Southwell, a replica, or 
perhaps a skilful copy of the picture at Florence, *2718. Anne of 
Cleves, fourth wife of Henry VIII. , *2715. Erasmus of Rotterdam 
(1523), exceedingly lifelike and admirahly executed, with mar- 
vellously expressive hands (replicas at Longford Castle and Bale) , 
*2714. William Warham, Archbishop of Canterbury (a replica of the 
picture at Lambeth, dated 1528), no number, Henry "Wyat, 2720. 
Unknown portrait; 2732. Rottenhammer, Death of Adonis, a very 
dramatic work; *2737. Cologne School (15th cent.), Descent from the 
Cross; 2741. German School (16th cent.), Portrait; 2711a. G. Gilt- 
linger, Adoration of the Magi ; 2703. Lucas Cranach the Elder, Venus 
in a landscape. 

Bay E: Flemish School. 

To the right: A. F. van der Meulen, 2033, 2032, 2040, 2045, 
2047, 2049, 2031, 2037, 2039, 2035, 2044. Pictures relating chiefly 
to the campaigns in the Netherlands under Louis XIV; 2070, 2071. 
Pourbus, Henri IV; Phil, de Champaigne, 1944. The architects 
Mansart and Perrault, 1938. Cardinal Richelieu, *1947. Portrait of 
himself, 1943. Portrait of a woman, *1394. The nuns Catherine Agnes 
Arnauld and Catherine de Ste. Suzanne (the painter's daughter; on 
the right) praying for the recovery of the latter from paralysis at the 
abbey of Port-Royal ; 2074. Pourbus the Younger, Guillaumc du Vair, 
keeper of the Great Seal under Louis XIII; Phil, de Champaigne, 
1941. Portrait of a little girl, 1930. Crucifixion, 1937. Louis XIII 
crowned by Victory, 1939. Robert Arnauld d'Andilly (1588-1674), 
1940. Portrait; 1903A. V. Boucquet, Standard-bearer; 1960. Fr. 
Duchdtel, Portrait of a nobleman ; Ph. de Champaigne, 1928. Last 
Supper, 1932. Pieta, 1927. Christ at the house of Simon the Pharisee; 
2169. Teniers the Younger, Soap-bubbles. 

To the left, beginning again: *2015. Jordaens, Concert after 
supper; above, 2142. Fr. Snyders, Animals entering the ark; 2078. 
Rubens, Madonna and the Holy Innocents; *2014. Jordaens, Twelfth 
Night; above, 1959. A. van Diepenbeeck, Portraits; Rubens, 2075. 
Flight of Lot, *2113. Portrait of Helena Fourment, his second wife, 



Picture Gallery. LOUVRE. Right Bank 4. 131 

and of two of his children (unfinished) ; above, 2145. Snyders, Fish- 
mongers; Rubens, *2116. Tournament at sunset, *2077. Adoration of 
the Magi (ca. 1612?), 2131. Landscape with a pool, *2111. Baron Henri 
de Vieq, ambassador from the Netherlands to the court of France, 
*2115. Village fair (ca. 1635?; see p. 120); 2011. Jordaens, Christ 
driving the money-changers out of the Temple, somewhat trivial in 
composition but masterly in its realistic vigour; Rubens, 2081. Rais- 
ing of Lazarus, *2114. Portrait of a lady of the Boonen family (more 
probably Suzanne Fourment, sister-in-law of the artist), *2084. 
Tomyris, queen of Scythia, causing the head of Cyrus to be dipped 
in a vessel full of blood; Jordaens, *2016. Portrait of Admiral De 
Ruyter, 2013. Infancy of Jupiter; 2144. Snyders, Boar-hunt; *19S5. 
Van Dyck (or Rubens), Portraits of J. Grusset-Richardot, President 
of the Privy Council of the Netherlands, and of his son; Rubens, 
2117. Landscape, 2110. Sketches for Nos. 2085 and 2105 (pp. 133, 
134), 2112. Elisabeth of France, daughter of Henri IV (more 
probably Anne of Austria, wife of Louis XIII) ; 2130. Rubens (?), 
Diogenes searching for a man; 2118. Rubens, Landscape; 2012. 
Jordaens, The Evangelists; above, 2141. Snyders, Earthly Paradise. 

Bat F: Eembkandt (temporary arrangement). 

Salle Rembrandt. The twenty- two canvases by Rembrandt 
(R. Harmensz van Ryn) of which the Louvre boasts were hung to- 
gether in this bay in 1907, along with a few Flemish and German 
works more or less connected with the great Dutch painter. 

Between the columns, at the entrance, 2072. Fr. Pourbus the 
Younger, Marie de Medicis ; opposite, 2444. Lievens, Yisitation. 

To the left: Rembrandt, *2548. Carcase in a butcher's shop 
(1655); 2555 a. Supper at Emmaus, a sketch (ca. 1661; comp. 
No. 2539, below), 2552, *2553, 2554. Three portraits of himself 
(1632, 1634, and 1637); 2543. Venus and Cupid, portraits of a 
mother and child (perhaps Hendrickje Stoffels and her daughter), 
a late work (ca. 1662); no number, Rembrandt's brother with a gold 
chain (ca. 1650; on loan). 

*2539. The Supper at Emmaus, dated 1648, from the collection 
of his friend the Burgomaster Six. As in the picture of Tobias, a 
subdued red is here the predominating colour, and the whole work 
is pervaded with a warm and hazy glow (Vosmaer). 

2538. St. Matthew (1661). — *2536. Family of Tobias revering 
the departing angel, painted in 1637; very characteristic of the 
master's easy and genial mode of rendering Bible scenes, and ad- 
mirable for its warm and harmonious colouring and its poetry of 
chiaroscuro; *2547. Portrait of Hendrickje Stoffels (1652); *2550. 
Woman bathing (so-called Bathsheba; 1651), *2549. Woman bath- 
ing, study for the Susannah now at Berlin (1647), 2551. Portrait 
(1651; these three from the Collection La Caze, p. 151); *2555. 
Portrait of himself at an advanced age (1660). 

9* 



132 Right Bank d. LOUVRE. First Floor: 

*2642. Holy Family at Nazareth, known as the 'Carpenter's 
Family', signed 1640. 

This family scene is one of those idyllic pieces by means of which 
Rembrandt and other Dutch masters endeavoured to familiarise the spec- 
tator with incidents from the Old and New Testament by transplanting 
them to the present. The simplicity and depth of sentiment which per- 
vade the picture may be regarded as the badge of the Protestant spirit 
of the 16th and 17th centuries. 

*2540, *2541. Philosophers in profound meditation. 

'The venerable countenance of the old man, tne faded colour of his gar- 
ments, the reverential atmosphere, the gentle light, and the transparency 
of the shadows all combine to shed an inexpressible poetic radiance over 
this picture.' (E. Michel.) 

*2537. The Good Samaritan (1648); above, 2544. Study of an 
old man (1633); 2546. Jew in a fur cap (ca. 1656) ; *2545. Portrait of 
a young man (1658); no number, *Reading hermit (1630; Kampfen 
bequest). 

To the right, beginning again : 2328. Ferd. Bol, Meditating philo- 
sopher; above, 2359a. Cornelius Drost (17th cent.), Bathsheba ; 
2564. Dirck van Sandvoort, Christ at Emmaus; 2371. Jan Fictoor 
(Victors), Portrait of a girl (1640). Gerard Dou, 2356. Reading 
the Bible (the old woman is a portrait of Rembrandt's mother); 
*2348. (farther on), The dropsical woman, one of his greatest works : 
a successful composition, in which the grief of the daughter is 
touchingly portrayed (most elaborately finished, although unusually 
large for this master ; 1663); 2355 (farther on), Dentist; 2364. G.van 
den Eeckhout, Hannah dedicating her son Samuel to the Lord; above, 
2708. Dietrich, The woman taken in adultery; *2373. Gov. Flinck, 
Child's portrait (1641); 2555B. Roghman, Verge of the forest; 2370. 
Fictoor, Isaac blessing Jacob; *2330. Ferd. Bol, Mathematician; 
2443A. Lastman (Rembrandt's teacher), Abraham's saciifice ; 2457. 
G. Metsu, The woman taken in adultery (1653); above, 2426. K. du 
Jardin, Golgotba; 2498. Adr. van Ostade, Interior of a hut (1642); 
2408. Honthorst, Pilate washing his hands; Adam Elsheimer, 2710. 
Rest on the Flight into Egypt, 2711. The Good Samaritan; 2372. 
Gov. Flinck, Annunciation to the Shepherds; above, 2331. F. Bol, 
Portrait. — We now enter the — 

Salle Van Dyck. To the right, three pictures by *Rubens, belonging 
to the series mentioned on p. 133 : 2087. The education of Marie de 
Me'dicis, conducted by Apollo (playing the violoncello), Minerva, and 
Mercury; on the right, the Graces ; 2096. Regency of the queen under 
the protection of Olympus: Mars, Apollo (recalling the Apollo Bel- 
vedere), and Minerva drive away the hostile powers, Juno and Jupiter 
cause the chariot of France to be drawn by gentle doves ; 2086. Birth 
of Marie (1573, at Florence): Lucina, the goddess of births, is pre- 
sent with her torch; Florentia, the goddess of the city, holds the new- 
born infant; on the right is the river-god of the Arno. — Van Dyck, 
1983. Portrait of the artist, 1975 (above), Portrait of the Duke of 
Richmond; above, 2080. Rubens, Flight into Egypt (sketch). Then 



Picture Gallery. LOUVRE. Right Bank 4. 133 

a flue series of pictures by Ant. van DycJc: *1966 (above), Rinaldo 
and Armida; 1972. Half-length portrait of the Spanish general 
Francisco deMoncada, commander in the Netherlands; 1973. Portraits 
of a man and a child; *1977. Portrait; above, 1964. St. Sebastian; 
**1967. Portrait of Charles I. of England, with his horse held by an 
equerry: a truly kingly portrait, executed with 'respectful familiarity' 
and marked by aristocratic bearing, unselfconsciousness, beauty, and 
the most refined 'joie de vivre' (ca. 1635); 1976. Portrait; 1965. 
Venus demanding arms for iEneas from Vulcan; *1974. Lady and 
her daughter; *1969. Duke Charles Louis of Bavaria (full-face) and 
his brother Robert, Duke of Cumberland; 1961. Madonna; *1971. 
Equestrian portrait of Francisco de Moncada (see above); *1962. 
Virgin and donors. 

Beyond the entrance to the Rubens Gallery (see below): 1953. 
6. de Grayer, Ecstasy of St. Augustine ; 2106. Rubens, Grand-Duke 
Francis of Tuscany, father of Marie de Medicis ; 1978. Van Dyck, 
Portrait; above, 1992. Fyt, Game and fruit; 2082. Rubens, Cruci- 
fixion; 1970. Van Dyck, Isabella of Austria; 1954. O. de Crayer, 
Equestrian portrait of Infante Ferdinand of Spain, Stadtholder of 
the Netherlands; Rubens, 2108. Marie de Me*dicis as Bellona, 2107. 
Johanna of Austria, wife of Francis of Tuscany; Van Dyck, 1968. 
Children of Charles L, 1963. Pieta. 

"VVe now descend the steps to the — 

Rubens Gallery, the former 'Salle des Etats', which was built at 
the end of the Second Empire (see p. 93) but remained unfinished 
until recently. It contains a series of eighteen large paintings by 
Rubens. These were ordered by Marie deMe'dicis, widow of Henri IV, 
for the Luxembourg Palace (p. 314). Rubens came to Paris in 1622, 
where he painted the sketches (now in Munich), after which he re- 
turned to Antwerp and executed the pictures there with the aid of 
his pupils. In 1625 the completed works were brought to Paris, 
where they received a few final touches from Rubens himself. The 
effect of the paintings has been considerably enhanced by the taste- 
ful decoration of the room and the favourable lighting from above. 
So as to preserve the chronological order the pictures of the series 
which are still in the Salle Van Dyck (p. 132) must be inserted. 

The scenes are as follows, enumerated from the entrance, al- 
ternately left and right. — Left, 2085. The Fates spin the for- 
tunes of Marie de Medicis (for the picture opposite, see p. 134). — 
On the walls. Left, 2088. Henri IV receives the portrait of the prin- 
cess; above are Jupiter and Juno; beside the king appears Gallia. 
— Right, 2089. The marriage by proxy; Grand-Duke Ferdinand of 
Tuscany, uncle of the princess, places the wedding-ring on her 
finger (5th Oct., 1600). — Left, 2090. The queen lands at Mar- 
seilles (1600). — Right, 2091. Wedding-festival at Lyons (1600); 
Henri IV in the character of Jupiter, and Marie de Medicis in that 



134 Right Bank 4. LOUVRE. First Floor: 

of Juno ; in the chariot in front the patron-goddess of Lyons. — 
Left, 2092. Birth of Louis XIII at Fontainehleau (1601) ; behind the 
queen is Fortuna ; the infant is in the arms of the genius of Health. 
— Right, 2093. Henri IV, starting on his campaign against Austria 
(1610J, entrusts the queen with the regency. — Left, 2094. Corona- 
tion of the queen by Cardinal de Joyeuse at St. Denis (1610); the 
king is observed in a gallery above. — Right, 2095. Apotheosis of 
Henri IV (assassinated in 1610) ; below are Victoria, in a yellow 
robe, and Bellona with a trophy; on the right is enthroned the 
mourning queen between Minerva and Wisdom; at the foot are 
Gallia and noblemen. — Left, 2097. The queen's expedition to 
Ponts-de-Ce (Anjou) against the insurgents. — Right, 2098. Treaty 
between France (on the right) and Spain (left) ; princesses of the 
allied courts are mutually destined to marry the heirs to the two 
thrones. — Left, 2099. Prosperity prevails during the regency; the 
queen enthroned bears the scales of justice; on the right are Minerva, 
Fortuna, and Abundantia; on the left Gallia and Time; below are 
Envy, Hatred, and Malice. — Right, 2100. The queen commits the 
rudder of the ship of the state, rowed by the virtues, to Louis XIII 
on his majority. — Left, 2101. Flight of the queen from the Chateau 
of Blois (1619). — Right, 2102. Reconciliation of the queen with 
Louis XIII. — Left, 2103. Conclusion of peace. — Right, 2104. 
Marie de Me"dicis and Louis XIII in Olympus; below is the dragon 
of rebellion. 

We return to the entrance, where the series is terminated by 
No. 2105. The triumph of truth (above, Louis XIII gives his mother 
a crown). We then ascend the steps and descend again to the 
right. In the passage (XXI), to the left, 2327. Abr. Bloemaert, 
Nativity. 

A series of Smaller Rooms, adjoining the Rubens Gallery, and 
bearing the names of the masters chiefly represented in them, con- 
tain the rest of the Flemish and the Dutch pictures. 

Salle Van Etck (XX). — At the end, in tbe centre, *1986. 
Jan van Eyck, The Chancellor Rollin revering the Virgin, with a 
beautifully-executed landscape (ca. 1426). 

The spare and big-boned head of the chancellor is one of the most 
fascinating ofVan Eyck 1 s male portraits. The Virgin possesses neither youth 
nor beauty, and yet there is about her a solemn and even imposing air. 

To the right and left: Hans Memling, *2027. Betrothal of St. 
Catharine, *2027A. John the Baptist and the donor, 2028 A (left), 
Portrait of a monk, *2024. John the Baptist, *2025. Mary Magdalen. 
To the right, *2196. Rogier van der Weyden, Descent from the 
Cross. Above, Colin de Coter, 1952 A. Trinity, *1952B. The three 
Maries; to the left (above), 105b. Br abantine School (15th cent), 
Female saint or donor reading; above, *2205. Flemish School (16th 
cent.), Pieta. — On the right wall, beginning again : *2202. Flemish 
School (15th cent.), The Angelic Salutation; *2202B. Flemish School 



Picture Gallery. LOUVRE. Right Bank d. 135 

(early 16 th cent.), Madonna with donors (triptych); 1957. Gerard 
David (?), Marriage at Cana. — Left wall: Flemish School (15th cent.), 
*2298a. Last Judgment (perhaps the right wing of D. Bout's Re- 
surrection at Lille), 2197. Holy Family; 2205b. Flemish School, 
Charles Y. ; *2028. Memling, Triptych, with the Martyrdom of St. 
Sebastian, Resurrection, and Ascension; above, 2067a. Bernaert 
van Orley, Holy Family; above, 2198. Flemish School (15th cenU), 
Pastoral instruction; 1997, 1998. Mahuse (Gossaert), Diptych, with 
the Madonna and Child and a portrait of Joh. Carondelet, Chan- 
cellor of Flanders; 2716. Flemish School (15th cent.), Philip le Bel; 
2204a. Flemish School (16th cent.), Portrait of an old man. 

Salle Antonis Mob, (XXI). Above the entrance : 2581. H. Steen- 
wyclc the Younger, Christ at the house of MaTtha and Mary (1620). 
To the right: 2300. Aertgen van Leyden (?), Abraham's sacrifice; 
1917. Pieter Brueghel the Elder, Assemblage of beggars; 2299. 
Aertgen van Leyden (?), The way to Calvary; 2640. L. F. Zustris or 
Suster, Venus and Cupid; 2203. Flemish School (16th cent.), Dead 
Christ; 2841d. Dutch School (16th cent.), Portrait. — At the end: 
no numbers, Flemish School (1507), Adam and Eve; above, 2001. 
Jan van Hemessen, Tobias restoring his father's sight (1555) ; *2029. 
Quinten Matsys, Banker and his wife; *2563a. Geertgen tot St. Jans 
or van Haarlem, Raising of Lazarus; 2030a. Quinten Matsys, Virgin 
and Child; above, Dutch School (16th cent.), No numbers, Mar- 
riage at Cana, Presentation in the Temple. — To the left: Sir An- 
thony More, 2481A. Edward VI. of England, *2479. Court-dwarf of 
Charles V.; 1050. Antwerp School (16th cent.), St. Jerome; Dutch 
School (16th cent.), Lot and his daughters ; 2601. Adr. van de Venne, 
Fete champetre, given in honour of the peace concluded in 1609 
between the Spanish (under the Archduke Albert) and the Dutch. 
— Above the exit: 2300 A. P. Aertsen, surnamed Cabel (1586-1636), 
Fishermen. 

Salle Fbans Hals (XXII). On the rear wall : Frans Hals, 
*2388, Portraits of the Van Beresteyn family of Haarlem ; to the left, 
F. Hals, *2386, *2387, Portraits of Nicolas van Beresteyn and his wife, 
founders of a beguinage at Haarlem, where these pictures were pre- 
served until 1884; between them, *2283. Portrait of Descartes, the 
philosopher (1655). — Above the doors and to the right and left in 
the upper row: Honthorst, 2410, 2411. Elector Charles Louis of the 
Palatinate and his brother Rupert of Bavaria, Duke of Cumberland, 
2409. Concert. — To the right: 2466, 2467. Mierevelt, Portraits; 
between them, 2642. Dutch School of the 17th cent., Literary society 
('Rederijkamer'). — On the rear wall , 2339a. Pieter Codde, The 
toilet; 1912. Adr. Brouwer, Dutch tavern; 2525. Hendrik Pot, 
Charles I. of England. 

. Sallb Van Goten (XXIII). Above the door, 2604. Simon de 
Vlieger, Calm sea. — To the right: "2508. 7s. van Ostade, Halt at 



136 Right Bank 4. LOUVRE. First Floor: 

an inn; 2643. Dutch (Scftt>o£(1627), Portrait; Corn, van Poelenburgh, 
2519. Pasture, 2520, 2521. Women bathing, 2622. Ruins of the 
imperial palaces on the Palatine and of the Temple of Minerva 
Medica at Rome; above, 2332. Jan Both, Landscape; Jinn van 
Ooyen, 2378. Sea-piece, 2376. Dutch canal; 2483. Aerlvan der Necr, 
Dutch canal; '2465. Mierevelt, Oldenbarneveldt, grand-pensionary of 
Holland. — On the rear wall: 2561b. Sal. van Ruysdael, The ferry; 
2576. Gerard Sprang, Portrait of a woman; 2605. Hendrikvan Vliet , 
Portrait of a young man ; 2375. J. van Goyen, Dutch river-scene ; 
2636. Wynants, Edge of a forest, with accessories by A. van de Veldt; 
2327a. P. Bloot, The ferry; 2438. A. de Keyser(?), Portrait; no 
number, H. van Vliet, Portrait. — To the left: *2389. Dirk Hals, 
Rustic festival (early work; ca. 1616); 25S6a. ^4. van den Tempel, 
Portrait; 2377. Van Goyen, River-scene; *2392. /. D. de Heem, 
Fruit and table-equipage ; 2340. Craesbeeck, The artist painting a 
portrait; 2515a. A. Palamedesz, Portrait. 

Salle Van Ostade (XX IV). To the right : *2495. Adr. van Ostade, 
The painter's family; 2338. J. van Ceulen, Portrait; 2510. Isaac 
van Ostade, Ice-bound canal; Philip Wouverman, no number, Cava- 
liers halting, 2029. Cavalry-charge; 2451. J. van Loo, Portrait of 
Michel Corneille, the painter. — 2484. Aert van der Neer, Village- 
street by moonlight; *2561c. Salomon van Ruysdael, The large 
tower; 2635. Pieter Wouverman, Tour and Porte de Nesle at Paris 
about 1664; 2490. Is. van Nirkelen, Vestibule of a palace; 2298. 
W. van Aelst, Grapes and peaches. — 2509. Isaac van Ostade, Tra- 
vellers halting; Adriaen van Ostade, 2500. Smoker, 2501. Drinker; 
*2261d, Salomon van Ruysdael, Banks of a river; 2511. Isaac van 
Ostade, Ice-bound canal; *2496. Adr. van Ostade, Schoolmaster; 
above, 2396, 2395. Bartholomaeus van der Heist, Portraits. — Over 
the exit, 2317. Nicolas Berchem, Ferry. 

Salle Ruisdael (XXV). To the right: *2559. Jacob van Ruys- 
dael, Thicket; 2436. Willem Kalff, Interior of a peasant's hut; 
2590. Gerard Terburg, Assembly of ecclesiastics during the congress 
at Minister (1648); no number, J. van Ruysdael, Forest; 2499. 
Adriaen van Ostade, Merchant in his cabinet; above, 2365. Al/art van 
Everdingen, Landscape; 2561. J. van Ruysdael, Landscape; *2497. 
A. van Ostade, Fishmarket; *256lA. J. ran Ruysdael, Margin of a 
wood. — 2401. Jan van der Heyde, Dutch village on the bank of 
a canal; 2391. Jan Davids* de Heem, Fruit and table-equipage; 
*2558. J. van Ruysdael, Stormy sea on the Dutch coast, a work 
of rare perfection; above, *2611. Jan Weenir, Spoils of the chase; 
2400. J. van der Heyde, View in a Dutch town; 2464a. Gabriel 
Metsu, Still-life. — *2588. G. Terburg, The musiclesson (a work 
of very delicate characterization; 1660); 2571. Hendrilc Matrtensz 
Sorgh , Kitchen; Gabriel Metsu, 2463. Dutch cook, 2461. Chemist; 
*2560, Jacob van Ruysdael, Sunbeam effect (figures by Ph. 



Picture Gallery. LOUVRE. Right Bank 4. 137 

Wouverman; poetically rendered and masterly in its silvery 
greenish - grey tone), *2557 (above), Forest - scene (figures by 
Bercheni), an important work of the master's best period; Q. Metsu, 
2460. Music-lesson, 2462. Dutch woman, 2408. Vegetable-market 
at Amsterdam; above, 2436a. Kalff, Still-life. 

Salle Hobbema (XXVI). Paul Potter, 2529. The Bosch at the 
Hague, 2526. Horses, 2527. Cows (1652 j, *2528. Grey horse; 2430. 
K. da Jardin, Wood; above these, *2394. Earth, van der Heist, 
Masters of the Guild of St. Sebastian, a smaller and well preserved 
replica of the Amsterdam painting (1653); 2452. Jak. van Loo, 
Study of a woman; 2360. Jan le JJucq, Guard -room (his master- 
piece). — ?2589. Q, Terburg, Concert; 2315. Nic. Bercheni, Ford; 
2598. Adr. van de Velde, Winter scene (1668); 2638. Wynants, 
Landscape; *2404. Meindert Hobbema, The mill; 2594. Adriaen 
van de Velde, Landscape with cattle; 2432. K. du Jardin, same 
subject; 2361. J. A. Ducq, Marauders; 2626. Philips Wouverman, 
Riding school; above, 2305. Ludolf Bakhuinen, Sea-piece. — 2429. 
K. du Jardin, Pasture; 2600. W. van de Velde, Sea-piece; no 
number, Bakhuisen, Sea-piece; Meindert Hobbema, no number, 
*Landscape, *2403. Forest-scene; 2593. Adriaen van de Velde, 
Beach at Scheveningen (1660j; 2427. Karel du Jardin, Italian 
jugglers; 2403. Hobbema, Landscape. 

Corner Room (XXVII). — To the left: Breenbergh, 2334. 
View of the Campo Vaccino at Rome, 2335. Ruins of ancient Rome; 
Nic. Berchem, 2313. Environs of Nice, 2318,2323. Landscapes with 
cattle. 

The opposite Corner Room (XXVIII) also contains Dutch 
pictures, mostly of a later period, and a few small pictures by Ph. 
Wouverman (including, to the left, 2630. Hunters and cavaliers 
halting). To the left: 2612. Jan Weenix, Seaport (1701); to the 
right, above, 2405. Melchior d'Hondecoeter, Two eagles in a poultry- 
yard. 

Salle Jan Steen (XXIX). On the rear wall: Jan Steen, 
*2578. Merry company (1674; rich in happy motives and full of 
humour), 2580. Bad company. — Then, to the right: 2456. J. van 
der Meer ( Vermeer) of Delft, Lace-maker; *2587. G. Terburg, The 
gallant (admirably drawn, and of a delicately-blended silvery tone, 
one of his finest works); above, 2610. Jan Weenix, Game and hunting- 
gear ; 2399. J. van der Hey den, Town Hall at Amsterdam ; 2602. 
Verkolje, Interior; 2568. Sllngelandt, Dutch family ; 26l2bis. Jan 
Weenix, Game. — 2312. Cornelis Bega, Rustic interior; 2471. Fr. 
van Mieris the Elder, Tea-party; 2345. Alb. Cuyp, Sea-piece; 2606. 
Ary de Vois, Portrait; 2475. W. van Mieris, Cook. — 2022. J. Meel 
or Miel, Entrance to a tavern ; Netscher, 2487. Lesson on the bass- 
viol, 2486. Singing-lesson; no number, Th. de Keyser, Portrait; 
*2459. Gabr. MeUu , Officer saluting a young lady, a gracefully 



13$ Right Bank 4. LOUVRE. First Floor : 

conceived and delicately coloured work; to the right and left of 
it, 2425bis, 2424. J. van Huysum, Flowers. 

Salle Albert CuYr (XXX). — Ouyp, *2343 (right), The pro- 
menade, *2341 (back -wall), Landscape, 2344 (left), Portraits of 
children, *2342 (left), Two riders. Then, from right to left: Pieter 
de Hooch, *2414, *2415. Dutch interiors; above, 2595, 2596. Adr. 
van de Velde, Landscapes with cattle; at the back, to the right, 
'2037. Wynants, Landscape, with figures by Adr. van de Velde. 

Salle XXXI (formerly the First Rembrandt Room) was en- 
tirely altered in Feb., 1907 (conip. p. 131). At present it contains 
the following works: Gerard Don, 2359. Portrait of himself, 2393; 
Dutch housekeeper, 2350. Village grocer, 2352. Dutch cook. — 
No number, Verspronck, Portrait of a lady ; 2407a. Hondius, Pigeon- 
seller. — Above the entrance, 2530. Pynacker, Landscape; above 
the exit, 2349. G. Dou, Silver ewer (spoiled). 

Sat.le XXXII (formerly the Second Rembrandt Room) was 
empty in June 1907 (comp. p. 131). 

The following three rooms contain the Dutch and Flemish pic- 
tures formerly in the Collection La Caze (for the French pictures of 
this collection, see p. 151). 

First Dutch Room (XXXIII). 2591. G. Terburg, Reading-lesson ; 
2513. Isaac van Ostade, Pig-sty; 2507. Adr. van Ostade, School- 
teaching; 2437. Willem Kalff, Still-life; 2468. Mierevelt, Portrait; 
above, 2406. Hondecoeter, The white turkey ; 2357. G. Dou, Old 
man reading; 2599. Adr. van de Velde, Landscape with cattle; 
2505. A. van Ostade, The newspaper; 2309. Bakhuisen, Sea-piece. 
— 2337. Brekelenkam, Consultation. — 2203. Flemish or Butch School 
(17th cent.), Old woman; 2393. Heemskerck, Interior; above, 2517. 
E. van derPoel, The hut; *'2579. Jan Steen, The repast ; 2506. A. van 
Ostade, Tavern; *2454. Nic. Maes, Saying grace; above, 2407. Honde- 
coeter, Poultry. — Above the exit-door, 2553. Pynacker, Landscape. 

Second Dutch Room (XXXI V ; pictures of the Collection La 
Caze, see above). 2573. Hendr. Mart. Sorgh(?), Tavern-interior; 
1914. Adr, Brouwer, The writer ; 2515. Is. van Ostade, Winter-land- 
scape; 2535. Ravesteyn, Portrait; 2382. J. van der Hagen, Plain of 
Haarlem; *1916. Adr. Brouwer, The smoker; above, 2339. Van 
Ceulen, Portrait; 2634. Phil. Wouverman, Pilgrims; 2435. A', du 
Jardin, Landscape; 2572. Sorgh, Flemish interior. — 2502. Adr. 
van Ostade, The drinker; 2379. J. van Goyen, Dutch canal; 2397. 
B. van der Helst(?), Portraits of a dignitary and his wife in a land- 
scape; 2503. Adr. van Ostade, The reader; 2366. Allart van Ever- 
dingen. Landscape. — 2534. Bavesteyn, Portrait; 1913. .Adr. Brouwer, 
Tavern-scene; 2512. Is. van Ostade, Interior ; *"2384. Frans Hals, 
Laughing gipsy ('La Bohe'mienne' ; ca. 1630) ; 2489. C. Netscher, 
Priucess; 1915. Adr. Brouirer, The operation; 2504. Adr, van 
Ostade, The reader. 



Picture Oallery. LOUVRE. Mght Bank 4. 139 

Flemish Room f XXXV; pictures of the Collection La Caze, see 
p. IBS). — David Teniers the Younger, 2179. The alms-collector, 
2184. Chimney-sweep, 2173. Interior (grisaille); 1982. A. van Dyck, 
Portrait (grisaille); 2055. Pieter van Mol, Head of a young man; 
1925. Jan Brueghel ( Velvet Brueghel), The bridge of Talavera; above, 
1995. Jan Fyt, Game and hunting-gear; 1926. Jan Brueghel, Land- 
scape; above, Tenters the Younger, 2170. Village fair (inscription 
forged?), 2177. Tavern; *1979. A. van Dyck, Head of an old man; 
2174. Teniers the Younger, Village fete; above, 2152. Snyders, Fruit. 
— Rubens, 2109. Marie de Me'dicis; to the left and right, 2120. 
Abraham's sacrifice, 2121. Melchisedech and Abraham (sketches). 
2193. Cornells de Fo«(?), Portrait; 2132. School of Rubens, Lute- 
player. — To the left a series of smaller pictures by Teniers the 
Younger (2176. Temptation of St. Anthony), and several sketches: 
2119. Rubens, Landscape; 1981. A. van Dyck, Martyrdom of St. 
Sebastian. 

In the passage (XXXVI) : no number, G. de Crayer, Adoration 
of the Shepherds; 2067. J. van Oost the Elder, San Carlo Borromeo 
administering extreme unction to the plague-stricken. 

Passing through the Salle van Dyck (on the left), we return to the 
Grande Galerie and by the door to the left in Bay D enter — 

Room IX, the first of the Petites Salles, which contains a number 
of late-Italian works, in continuation of those on the adjacent wall 
in Bay D of the Grande Galerie (see p. 128). To the left of 
the entrance: 1401. Dom. Panetti , Nativity; 1553. Garofalo, 
Holy Child asleep; 1386, 1385. Parmigianino (Franc. Mazzola), 
Holy Families. — On the end-wall, Guido Reni, 1448. Magdalen, 
1447. Ecce Homo; 1287. Dom. Feti, Country life; 1562. Franc. 
Vanni, Martyrdom of St. Irene ; above, 1252. Castiglione, Animals. — 
Above, 1560. Turchi, Death of Cleopatra. — To the left of the 
window, 1379. Carlo Maratta, Portrait of Maria Maddalena Rospi- 
gliosi. — We now enter the — 

*Frencli Booms. French art is represented by more than 1000 
pictures, which have been arranged in eight rooms. The chronological 
order begins in Room X, which adjoins Room IX (see above). The 
most direct approach to these rooms is by the Escalier Mollien (E. 
on the Plan, p. 116), to the right of the 'vestiaire' in the Pavilion 
Denon (p. 96), and through the Galerie Mollien (comp. p. 96). 

Room X. Earliest Fbbkch Schools (Primitifs Fran<;ais). — r To 
the left: 995. Attributed to J. Malouel and H. Bellechose (1415-16), 
Martyrdom of St. Denis. Above, 999. French School (15th cent.), Por- 
traits of Jean Juvenal des Ursins, President of Parliament (d. 1431), 
and his family; Maitre de Moulins (15th cent), *Mary Magdalen and 
donor; French School (15th cent.), 1004. Peter II., Du£e of Bourbon, 
son-in-law of Louis XI, and St. Peter, 1005 (farther on), Anne of 
France, his wife, and St. John the Evangelist; 996. Jean Molouel(?), 



140 Right Bank 4. LOUVRE. First Floor : 

Dead Christ; no number, French School of the 15th cent. (Foucquel?), 
*Man with a glass of wine; beside it, no number, Same School (studio 
of Nicolas Froment?), *Pieta from Yillencuve-K's- Avignon. — By 
the first window (left), no number, French School (Hth cent.), The 
Flagellation. — Between the windows (left): 1049. French School 
(15th cent), Mt. Calvary and the legend of St. George ; below, *1342bis. 
Altar-screen presented to the cathedral of Narbonne by Charles V 
(14th cent.). — On the other wall: *288. J. Foucquet, Portrait of 
Guillaume Juvenal des Ursins, Chancellor of France under Charles 
Vll and Louis XI ; *104S. Ascribed to Jean Perreal, Madonna 
with donors; above, French School (15th cent.), 997. Entombment, 
998. Descent from the Cross. No number, *Large altar-piece called 
Le Christ du Par lenient, painted about 1475 by a Dutch master (Hugo 
van der Goes?), and formerly at the Palais de Justice; it represents 
Mt. Calvary, with St. Louis (portrait of Charles YII) and St. John 
the Baptist on the left, St. Denis and Charlemagne on the right, and, 
in the background (from left to right), the Tour de Nesle (p. 288), 
the Louvre, Jerusalem, and the Palais de Justice. No number, French 
School (15th cent.), St. Helena and the miracle of the True Cross; 
304A. Nic. Fronient, King Rene and his second wife ; *289. Jean 
Foucquet, Charles VII of France, a highly suggestive portrait 
(ca. 1450). — Between the windows: no number, School of Avignon 
(15th cent.), Christ, St. Agricola, and donor (from the church of Boul- 
bon); 1003, 1002 (farther on), Bunmndian School (15th cent.), Por- 
traits of Philip the Good and Jean Sans-Peur, Dukes of Burgundy. 
— In the corners: no numbers, Franco-Spanish School (15th cent.), 
Scenes from the life of St. George (four panels). 

Room XL French Schools of the 16th Century. — To the 
left, several portraits in the manner of the Clouets. Then, 1035. 
French School, Ball at the court of Henri III on the wedding of the 
Due de Joyeuse with Margaret of Lorraine in 1581 ; 1485. Rosso 
(p. xl), Pieta; 132. J. Clouet, Charles IX; above, 1033. French 
Scliool (16th cent.), Henri HI; 155. Jean Cousin, Last Judgment 
(p. xl); 1433. After Primaticcio, Concert; G83, 1007. French School, 
Portraits of Francis I. — By the first window on the left, 1006. 
French School (16th cent.), Praying abbess. — By the windows, on 
the left: 304. Martin Freminet, Mercury charging iEneas to abandon 
Dido; 131. Fr. Clouet (?), Francis of Lorraine, Duke of Guise. — By 
the second window on the left, 1032. French School (16th cent.), 
Henri III. — On the other wall: 130. Fr. Clouet (?), King Henri II; 
128, *129. Fr. Clouet, Charles IX of France and his wife Elizabeth 
of Austria; 126, 127. J. Clouet (?), Portraits of Francis I.; 1012. 
Guillaume de Montmorency (ca. 1525-31); 1036. French School, 
Henri III kneeling before the Cross. — By the windows on the right : 
School of Fontainehleau, 1014 A. Toilet of Venus, 1014 (above), 
Continence of Scipio, 1013 (between the windows), Diana. — By the 
second window on the right, in the corner: French School (16th cent.), 



Picture Gallery. LOUVRE. Bight Bank 4. 141 

1022. Francis, Duke of Alencon, as a child, 1023. Louise of Lor- 
raine, wife of Henri IJL 

Room XII. Paintings by Le Sueur, particularly a series of 21 scenes 
from the life of St. Bruno, painted in 1645-48 for the Carthusians 
of Paris. The best is *584. Death of St. Bruno. 

'The light of a single candle falls on the white cowls, which resemble 
grave-clothes, and on the walls, which are white as those of a tomb. An 
inexpressible sadness streams from this almost monochrome painting.'' 

(Gautier.) 

Room XIII. On the left, 586. Le Sueur, St. Bruno and his 
companions giving their substance to the poor; above, 3. E. Allegrain, 
Landscape; 547. The Brothers Lenain, Denial of St. Peter; above, 976. 
8. Vouet, Louis XIII. — On the principal wall, 545. Lenain, Henri II, 
Duke of Montmorency; 544. Lenain (?), Church procession; Lenain, 
543. Portraits (1647), 546. A game at cards, 543A. Family circle, 
642. Haymakers, 540 (to the left of the entrance), The blacksmith, 
539. Nativity. Above, from left to right, Le Sueur, 554. Departure 
of Tobias, 590. Company of artists, 558. Christ appearing to Mary 
Magdalen. — To the right of the window, 154. J. Courtois, sur- 
named Le Bourguiynon, Battle. To the left, J. de Boulongne (Le 
Valentin), 61. Fortune-teller, 63 (above the exit), Topers. 

On the wall of the adjoining staircase (E and K on the Plans, 
pp. 116, 96), which leads towards the exit from the Pavilion Denon 
(seep. 95): F. Gerard, 331. History of Poetry, 330. Victory and 
Fame; 758. Prud'hon, Wisdom bringing Truth back to earth; cartoons 
by the same artist; David, 706. Cartoon for the Oath in the Jeu de 
Paume (never executed), 187. Leonidas at Thermopylae. — We 
enter, on the right, the — 

Galerie Francaise du XVIIe Siecle, or Galerie Mollien (Room 
XIV), containing the masters of the 17th century. 

From right to left: 715. Nicolas Poussin, The blind beggars of 
Jericho (1651); 78. Bourdon, Descartes. — Le Valentin, 57. Judgment 
of Solomon, 56. Acquittal of Susannah ; between them, 742. Poussin, 
Apollo and Daphne (his last work, unfinished); 321. Claude Lor- 
rain (Gellee), Landscape; Sebastien Bourdon, 75. Gipsies' halt, 76. 
Beggars; above, 513. Charles Le Bran, FJntry of Alexander the Great 
into Babylon, painted, like Nos. 509-12 (see below), as designs for 
Gobelins tapestry (1661); 562. Le Sueur, St. Scholastica appearing 
to St. Benedict; JSic. Poussin, 718, Assumption, 713. Holy Family; 
556. Le Sueur, Bearing of the Cross, 'touching in its sweet and. 
profound melancholy'; Nic. Poussin, *740. Landscape with Orpheus 
and Eurydice (1659), 709. The Israelites gathering manna in 
the wilderness (Rome, 1639), 710. The Philistines struck with 
pestilence (Rome, ca. 1630), 706. Moses in the ark of bulrushes; 434. 
Jouvenet, Raising of Lazarus (1706); 560. Le Sueur, St. Paul 
preaching at Ephesus, the principal figure after Raphael (1649); 
511. Le Bran, The tent of Darius, one of the series mentioned on 



142 Right Bank 4, LOUVRE. First Floor: 

p. 141; 730. Cousshi, Bacchanal; Claude 1 orrain, *313. Harbour at 
sunset, *312. Village Fete (both painted in 1639); 59; Le Valentin, 
Concert ; 726, Poussin Rescue of tne young Pyrrhus; 1277. 6?. Pou<sin 
(()'. Pitolut >, Landscape; 433. J<wfnt7, Miraculous Draught of Fishes ; 
7*2-1. Poussin, Rape of tbe Sabines ; 529. Claude Lefebvre, Master 
and pupil; Claude Lorrain, 323. Moutb of a harbour, 315. Samuel 
anointing King David; 4^0. Laurent de Lahire, Pope Nicholas V. at 
the tomb of St. Francis of Assisi ; *317. Claude Lorrain, Harbour, 
of great vigour and depth of colouring; 790. Rigaud, Robert de 
Cotte, the architect; 557. Le Sueur, Descent from the Cross; 510. 
Le Brun, Battle of Arbela; 322. Claude Lorrain. The ford. 

Between tbe doors: 52. Bon Boulogne, St. Benedict resuscitat- 
ing a child; 555. Le Sueur, The Salutation. 

On the left wall, as we continue: 318. Claude Lorrain, Seaport; 
730. Poussin, Spring, or the Earthly paradise ; H. Rigaud g Ros, 784 
(above). Two portraits of Marie Serre, mother of the painter, 780. 
Presentation in the Temple , of great vigour of colouring (the 
painter's last work, 1743); 737. JSic. Poussin, Summer, or Ruth 
and Boat; Claude Lorrain, 325. Louis XIII forcing the pass of 
Susa, near Turin, in 1629, 324. Siege of LaRochelle by Louis Xlll 
in 1028: Nic, Poussin, 738. Autumn, or the Spies returning with 
grapes from the Promised Land, 731. Echo and Narcissus; above, 
512. Le Brun, Alexander and Porus; Nic, Poussin, 722. Vision 
of St. Paul, 720. Death of Sapphira; 788 (ahove 722). Rigaud. Por- 
trait-group ; 320. Claude Lorrain, Landscape; 782. Rigaud. Philip V. 
of Spain at the age of seventeen (1700); Nic, Poussin, 716. The 
Woman taken in adultery, 714. Holy Family; above. 515. Le Brun, 
Death of Meleager; 977. Simon Vouet , Wealth; *314. Claude 
Lorrain, Mark Antony receiving Cleopatra at Tarsus; 735. Poussin. 
Time delivering Truth from the attacks of Envy and Discord (a 
ceiling-painting executed in 1641 for Card. Richelieu); *310. Claude 
Lorrain, Ulysses restoring Chryseis to her father, with figures by 
Fil. Lauri: 978 (above 316), Vouet, Faith (companion-picture to 977) ; 
•734. Poussin, Arcadian shepherds; *628. Mignard, Madonna (Vierge 
a la Grappe); *781. Rigaud, Louis XIV, an excellent portrait; 
705. Poussin. Moses in the ark of bulrushes; 452. L. de Lahire, 
Madonna and Child; above, 039. Mignard, Francoise d'Aubigne', 
Marquise de Maintenon; above, 559. Le Sueur. SS. Gervasius and 
Protasius refusing to sacrifice to Jupiter; Le Brun, 514. Hunt of 
Meleager and Atalanta, 498. Christ entering Jerusalem; 971. Vouet, 
Presentation of Jesus in the Temple; *783. Rigaud, Bossuet ; 530. 
Lefebvre, Portrait (1607); 153. Le Botirguignon, Skirmish between 
cuirassiers and Turkish cavalry; 311. Claude Lorrain, Campo Vaccine 
at Rome; 732. Poussin, Triumph of Flora; *310. Claude Lorrain, 
Harbour at sunrise; Mignard, 034. St. Cecilia (1091), 630. Christ 
on the way to Calvary (1084); above, 509. Le Brun, Alexander 
crossing the Granieus; 483. Largilliere, Count de la Chatre. — 



Picture Gallery. LOUVRE. Right Bank 4. 143 

*704. Poussin, Eleazer and Rebecca (one of the master's most charm- 
ing compositions). 

The gallery is adjoined by the — 

Salle des Portraits, or Room XV, surmounted by a lofty cupola, 
and containing a collection of Portraits of Artists, most of which are 
of little value save for their historical interest. They all bear in- 
scriptions. The ceiling is embellished with paintings by Charles 
Muller illustrative of French periods of art : under St. Louis, Francis I., 
Louis XIV, and Napoleon I. The walls are hung with eight beautiful 
Gobelins tapestries. In the centre of the room is a fine Sevres vase. 

The most interesting portraits are as follows, from right to left: 373. 
Et. Jeaurat, by Greuze; 640. P. Mignard, by himself; 525. Jos. Vernet, by 
Mme. Lebrun; no number, Bon Boulogne, by G. Allou; 179. Coypel, by 
himself; 200. Mongez and his wife, by David; 524. //. Robert, by Mine. 
Lebrun. — 476. David, by Langlois ; 1148. Guercino, 1466. Tintoretto, by 
themselves; 482. Le Brun, by Largilliere. — 760. P. Puget, by Fr. Puget; 
821. M. and Mme. Vien {Marie Reboul), by Roslin; *147. G. Courbet, by 
himself (The man with the leather belt). — '521. Mme. nebi'un, with her 
daughter, by herself; no number, Roslin, 796. H. Rigaud, by themselves. — 
302. Fragonard, 904. L. M. Van Loo, 13S0. Maratta, all by themselves. — 
272. Th. Rousseau, by E. Dubufe; 166. N. Coypel, 519. Le Brun, by themselves; 
533. Halle, by J. Legros. — S02. Soufflol , the architect (with two of his 
drawings), by L. M. Van Loo; 68. J. B. Greuze, by himself: 492. .Nic. 
Gouslou, by Largilliere; 80. Bourdon, by himself; 958a. /. B. Isabey, by 
H. Vernet; 407. Mme. C. A. Haudebourg (Lescot), by herself; 778bis. Heilbuth, 
by Eicard. — Bust of David, by Rude. 

On the easels near the windows are new acquisitions or gifts; from 
right to left (no numbers): Sir Joshua Reynolds, Master Hare; Sir Th. Law- 
rence, Portrait; /. M. W. Turner (1775-1851), View of the Pont-Neuf; 
Lawrence, Portrait of Mary Palmer, countess of Inchiquin; Ch. H. Hodges, 
Portrait of an old lady ; Mercier, Wine-taster. 

Before visiting the large Room VIII (Modern Works; on the 
right), we proceed straight on to the — 

Galerie Francaise duXVIIIe Siecle or Galerie Daru (Room XVI). 
To the right of the entrance: no number, Greuze, Girl. — Right 
wall: 180. Charles Anloine Coypel, Perseus delivering Andromeda; 
Desportes, 232, 235. Sporting-dogs and feathered game, 224. Sports- 
man, 226 (above), Boar-hunt, 231. Louis XIV's dogs; no number, 
Greuze, Girl; 811. Hubert Robert, Landscape; 869, 876, 868b, Tocque, 
Portraits; Lancret, 467. The nest, 466. Turtledoves; 172. A. Coypel, 
Young girl; 249. Desportes, Portrait of himself; 170. A. Coypel, 
Esther before Ahasuerus; 290. J. H. Frayonard, The high priest 
Coresus giving his life for Oallirrhoe; 689. Pater, Fete champetrc 
(1728); 265. Drouais, Portrait of Le Lorrain, the sculptor; 897. 
C. A. Van Loo, Marriage of the Virgin; 183. A. Coypel, Portrait 
of himself; 465-462. Lancret, The Seasons; 935, 936. Jos. Vernet, 
Castle of Sant' Angelo and Ponte Rotto at Rome; 375, 374. Greuze. 
Girls' heads; 657. J. M. Nattier, Mary Magdalen; 896. J. B. Van 
Loo, Diana and Endymion; 867. L. Tocque, Marie Lesczinska, 
Queen of France; Boucher, 30. Diana quitting her bath, 31. Venu., 
begging Vulcan for arms for ^Eneas, 32. Sleeping shepherdess; 291. 



Ml Right Bank 4. LOUVRE, First Floor : 

./. //. Fnu/onard. Music-lesson 5 221, Da Marne, Road; 99. J. B.5. 
Chardin, Housekeeper; 666, 671. Oudry, Dogs; Ciiardin, 97, The 

antiquarian ape, 94. Dead Uavo and hunting gear; §63. 'I'uraral, 
Triumph of Amphitrite; 33, Boucher, Bag-piper; 668, (hidru. Dog 
and game; 651, 660, /-. & Mbreau, Landscapes; //. Rooert, 809. 
Landscape, 810. Interior of a park; 959, A, Festfer, Portrait of his 
wife; 28, Foilly, Arrival oi' the diligence; 222, Ft Marne, Fair; 
913./. Fernet, Moonlight scene; above, no number, ©reuse, Two 

girls; 261, Fro! lino. Kitchen. 

Uoar-wall: 194. Farid, Paris ami Helen; above, 922, «/. Fernet, 

Return from fishing; beyond the door, (ironic, 370, The father's 
curse, 371, The repentant sou, more striking in subject than in exe- 
cution. 

The door opens on the upper lauding oi' the Escaliei Darn 
fj>, L16), where 1 few pictures by early Italian masters are hung: 
Botticelli, *1297, I298i Frescoes from the Villa I. ennui near Flor- 
ence, said to have been painted for the nuptials of Lorenzo Alhizzl 
and Qiannina Tomabuoni, and representing Qiannina with the Graces 
and Lorenzo With the Arts and Sciences; *1294, I'ra Anaclico, Cruei- 
tixion, from the former Dominican monastery at Fiesole. Here, also, 
are antiquities found at Delphi, etc, 

We re-enter the gallery ; to the right: 373a, (Iracc. Portrait; 
Boucher, no number, Rinaldo and Armida, 34, *35. Pastoral scenes; 
203. De&or, Pete champetre; above, 965. J. M. Yicn, Sleeping hermit; 
*369, Creine. The marriage-contract, exceedingly popular in its time; 
l.ancnt, 469. Innocence, 40S. Music-lesson; above, $84, d. F.dc Troy, 
Ksther's toilet (design for Gobelins tapestry); Mine. Yiocc-Lebrun, 
520, Peace with Abundance, 526, Mine. Molee-Raymond, 522. 
Portrait of the artist and her daughter. Below, two Chardins and 
549a. l.^picic. Carle Yernet, the painter, as a child. Above, 678. 
J. Porrocet, Louis XIV crossing the Rhine (1672); H.Robert, 799. 
So-called temple of Diana at Mines. 804, Circular temple surmount- 
ed by a dove-cot. SOT. Ruined portico; J. B. Hilaire, 410. Reading, 
410a Music; 899, C, A. Van Loo, Huntsmen resting; Creuzc, *372. 

The broken pitcher, his best -known work, 373b, Portrait of Dr. 
Duval; 698. Ferronncau, Oudry. the painter; 665. O'livicr, Tea at 
the prince of Conti's; *982, A. Watteau, Embarking for Cythera. 
•tender and ideal in colouring, a typical dream of youth and happiness 1 ; 
9. A:cd, Mirabeau; Boucher. 38. Cephalus ami Aurora, 45a, Trapped 
bird [sketch), 37, Vertumnus and Pomona; *372a, (Jreuae, Milkmaid; 
803. //. Fobert, Portions of Octavia at Pome; * 39. F>ouchcr, Rape 
of Europa; 535. Lt Mount. Olympus (sketch for a ceiling); Chardin, 
*92. Grace-, his finest work (1740), *91, The industrious mother; 

F.ii, cr, ^45. Pastoral, 40. Venus begging arms from Vulcan; 923. 
J. Fernet, Landscape; 638. Mignard, The Grand Dauphin, son of 
Louis XIV, and his family; *50a, Bouchtr, Interior; /.Fernet, 921. 



Picture Gallery. LOUVRE. Bight Bank 4. 145 

Women bathing, 932 (above), Setting sun; Char din, 95. Kitchen 
lltenaiU, 89. Uay , 90 (farther on), Animals and fruit; 36. 
Boucher, Vulcan presenting Venus with arms for JEneai; 808. 
Toeque, Louii of Fiance, son of Louis XV; 001a. J. 71/. Nattier, 
Portrait; above, 88.0. J. /''. Troy, Swoon of Esther (design for 
tapestryj ; above, 704. J. liaoux , Telemachus recounting his ad- 
ventures to Calypso; jF. Uesportes , 237. Still-life, 24.0. Fruit and 
game, 229. Vegetables, 230. Flowers and fruit, 220. Dogs; *670. 
Oudry, Farm. — To the right of the door: no number, Greuze, 
Little girl. 

Between the doors, 835. J.B. Santerre, Susannah ; 938. J. Vernet, 
Sea-piece; 853. P. Subleyras, Magdalen. 

The paintings which follow in chronological order will be found 
in the Salle des Sept Oheminees (p. 150). We now re-enter the 
Salle des Portraits, and turn to the left into the — 

Salle Francaise du XIXe Siecle or Room VIII, situated between 
the Salle des Portraits and the Grande Galerie. This was formerly 
a Salle den Etats or States Assembly Room. We begin to the right 
of the entrance from the Salle des Portraits (p. 143). — 425. Ingres, 
M. Cordier; no number, *Daubigny, Harvest (1851); no number, 
O. f Heard, Mrae. de Calonne; above, *209. E. Delacroix, Revolution 
of July 28th, 1830 (The barricade); above, G25. A. Michallon, Land- 
scape.. — Wall on the right: *207. Delacroix, Dante and Virgil in 
Hades, 'ardent and sombre, pervaded by an infernal glow' (1822) ; 
771. G. H. Regnault, Execution at Granada; no number, Delacroix, 
*Hamlet and the grave-diggers; 141. Corot, Landscape; above (no 
number), Delacroix, Tiger-cub playing with its mother; 390. Grts, 
Francis I. and Charles V. at the tombs of St. Denis; above, *156. 
Th. Coulure, Romans of the decadence; *141B. Corot, Castel Gan- 
dolfo ; above (no number), Decamps, Defeat of the Cimbri; 702. 
Pits, Rouget de ITsle singing the Marseillaise; 2965. Meissonier, 
Portrait of Mme. Gemot; *200A. David, Mother and daughters; 17. 
Benouville, St. Francis of Assisi blessing the town of Assisi from 
his deathbed (1853); 643. Millet, Spring; 189. David, Oath of the 
Horatii; 197. Levy, Portrait; *417. Ingres, Apotheosis of Homer 
(for a ceiling; 1827); above, 145. Courbet, Stags fighting; *644. 
Millet, The gleaners , in the same realistic and poetic style as the 
more famous Angelus of this tardily appreciated master; 842c. 
A. Scheffer, Portrait; *423. Ingres, Woman bathing; 363. Gleyre, 
Lost illusions; above, 191. David, Lictors bringing to Brutus the 
bodies of his two sons; *138. Corot, Morning; Ingres, 427. Mme. 
Riviere, 420. M. Riviere; no number, L. Boulanger, Portrait; 283. 
H. Flandrin, Study; *889. Troyon, Oxen on their way to the plough, 
a masterly work; 610. Lethiere, Death of Virginia; Ingres, 416. Ma- 
donna with the host, 420. Joan of Arc at Rheims. — Rear-wall : *204. 
Manet, Olympia; *184. Daubigny, Vintage in Burgundy; 230. 
E. Deveria, Birth of Henri IV, 'the dawn of a colourist who 

Bakdkker. Paris, i 6th Edit. 10 



146 Right Bank 4. LOUVRE. First Floor: 

did not live till day'. Above the door, 748. Prud'hon, Meeting of 
Napoleon I. and Francis II. after the battle of Austerlitz. 

On the other side of the door of the Grande Galerie, to the left 
as we face it: 412. Huet, Floods at St. Cloud; 216. P. Dela- 
roche, Death of Queen Elizabeth of England, painted in 1828. — 
Ingres, *422b. Recumbent odalisque f early work; 1814), 415. Christ 
handing St. Peter the keys of Paradise, *428b. M. Bertin, founder 
of the Journal des Debats (1832); *890. Troyon, Returning to the 
farm; 609. Lethilre, Brutus condemning his sons to death; 418. 
Ingres, Cherubini (1842); 615. Marilhat, Ruined mosque of Caliph 
el-Hakim, at Cairo; 306. Fromentin, Arab camp; Courbet, 146. 
Deer in a wood, 144. Wounded man; 284. Flandrin, Portrait; 
147 A. Courbet, The wave; 842 B. A. Scheffer, Lamennais; 50bis. 
Bouchot, Fall of the Directory (Nov. 9th, 1799); *213. Delacroix, 
Taking of Constantinople by the Crusaders; above, 843. Schneiz, 
The vow; *827. Th. Rousseau, Border of the forest at Fontaine- 
bleau; above, 842 A. A. Scheffer, Portrait of Yillemain ; SAI.Sigalon, 
Courtesan; 408. Heim, Scene from Jewish history; Delacroix, 
214. Portrait of himself, 211. Jewish wedding in Morocco (spoiled), 
212. The shipwreck of Don Juan (Byron); 145 A. Q. Courbet, Deer 
in cover; 419. Ingres, Ruggiero delivering Angelica; *389. Oros, 
Napoleon I. at Eylau in 1807; 210. Delacroix, Algerian women; 
418. Ingres, Portrait of Mile. Riviere ; 185. Daubigny, Spring; 428A. 
Ingres, M. Boehet; 957. H. Vernet, Judith and Holofernes; 208. 
Delacroix, Scene from the massacres at Chios; above, 1. D'Aligny, 
Prometheus. — Above the entrance, 770. Regnault, General Prim 
(1868). 

From the Escalier Daru we pass through the door to the left 
of the Nike of Samothrace (p. 116) into the — 

Rotonde d'Apollon (XXXII), adorned with ceiling-paintings by 
Blondel (Fall of Icarus), Couder (the Four Elements), and Mauzaisse. 
In the centre is a handsome marble vase, imitated from an antique 
vase in the Vatican, and surrounded with a modern mosaic by 
F. Belloni. By the central window are bronze statuettes; also, 
beautiful head of a child in marble, in the style of Praxiteles. — 
Facing us is the Salle des Bijoux Antiques (p. 149). — A fine 
wrought-iron door of the 17th cent, on the right leads to the — 

*Galerie d'Apollon. This saloon, which is over 200ft. in 
length, was constructed in the reign of Henri IV, burned down 
under Louis XIV in 1661, and rebuilt from designs by Charles Le 
Brun, who left the decoration unfinished. It was then entirely 
neglected for a century and a half, but was at length completed in 
1848-51 by Felix Duban. It is the most beautiful hall in the Louvre, 
and is considered one of the finest in the world. The name dates 
from the time of Le Brun, who had intended a figure of Apollo to be 
the central point of his decorations, in honour of the 'Roi SoleiF, but the 



Oalerie d'Apollon. LOUVRE. Right Bank 4. 147 

celebrated *Ceiling-painting, representing Apollo's Victory over the 
Python, was not executed until 1849, by Eug. Delacroix. The vault 
is divided into five large fields depicting the periods of the day. 
Surrounding it are four other paintings representing the seasons 
(second half of the 18th cent.), while the twelve medallions in 
grisaille portray the months. The principal subjects are: Aurora 
or Dawn, by Ch. Mutter, after Le Brun ; Castor or the Morning Star 
by A. Benou ; then, beyond the Apollo (which represents Noon), 
Morpheus or Evening, Night or Diana, both by Le Brun. On the 
vaulting above the entrance is the Triumph of the Earth, by J. Oui- 
chard, after Le Brun. In the vaulting over the window, Triumph of 
the Waters (Neptune and Amphitrite), by Le Brun. The panels of 
the walls are adorned with portraits of twenty-eight French kings 
and artists, in Gobelins tapestry (see p. 332). — Fine view from 
the windows. The door at the end on the right opens into the Salon 
Carre (p. 121). 

The beautiful tables and other furniture in this room date 
chiefly fro m the reign of Louis XIV. The glass-cases contain 
Gems, Trinkets, Enamels, and Plate. No catalogue. 

Case I. Enamelled casket; enamels in monochrome by M. Didier 
(16. h cent.), P- Reymond, Fr. Limosin (17th cent.), and other Limoges 
enamels. 

Cask II (in the centre) mainly contains church- vessels of the Gothic 
period, enamelled gold vases, and vessels in rock-crystal. On the top shelf : 
at each end, enamelled Venetian basins 5 reliquary (12th cent. ; German) 
for an arm of Charlemagne; casket known as the 'coffret de St. Louis 1 , 
from the abbey of Lys (Limoges ; 13th cent.) ; enamelled brass casket of 
the 14th cent. ; * Amazon on horseback, Centaur carrying off a woman, in 
silver-gilt of the 16th century. — On the middle shelf: next the windows, 
Enamelled croziera of the middle ages; engraved rock-crystal pax of the 
late 15th cent. (German); two reliquaries in the form of Madonnas (15th cent.) ; 
reliquary-cross of St. Vincent of Laon (French; end of 12th cent.). — 
Lower shelf: at the right end and opposite the window, two reliquaries 
in the form of angels, and other objects, from the Chapel of the Order of 
the Holy Ghost in the Louvre, but dating from the 15th cent, and there- 
fore anterior to the founding of the order by Henri III (1579) ; reliquary 
of St. Francis of Assisi (French; 13th cent.); small Romanesque enamelled 
reliquaries; chalices, including two of the 13th cent.; book of hours be- 
longing to Catherine de Medicis (16th cent.); holy-water basin in agate 
and silver-gilt (16th cent.); reliquary in the form of a statuette of St. Law- 
rence lying on a gridiron (French; 15th cent.). — On the other side of 
the case are enamelled vases, reliquaries, Polish goblet, rock-crystal vases, 
etc. — At the left end, "Reliquary for an arm of St. Louis of Toulouse, 
in silver-gilt and enamel (Italian; ca. 1337); reliquary from the Chapel of 
the Holy Ghost (German; 15th cent.). 

Case III. Chiefly objects of the 16th century. *Pax, with enamels 
and rubies, from the Chapel of the Holy Ghost ; two urns in basalt and agate, 
formerly in the possession of Cardinal Mazarin; *Ciborium of crystal, 
with silver-gilt base and cover, adorned with chasing, cameos, and gems ; 
* Rings; cups of sardonyx; rock-crystal vessel, shaped like a chimsera. 

Case IV. Objects of the 16-17th centuries. On the top shelf : "Epergne 
of the time of Louis XIV, consisting of a boat in lapis-lazuli mounted in 
gold and enamel; Goblets in rock-crystal and *Ewers, beautifully chased 
(translucent, best seen from the other side ; the handle of one is set with 
enamels and rubies); sweetmeat- dishes in pietra dura. — On the middle 
shelf: *Ewer of sardonyx, with enamelled mounting; busts of Roman 

10* 



148 Right Bank 4. LOUYRE. First Floor: 

Emperors, the heads of precious stones; a^ate "^Cup with cameos; vase of 
sardonyx (German; 16th cent.); three cups of the 16th cent.; incense-holder 
in pietra dura (16th cent.); cup from China (18th cent.); perfume-burner cf 
green jasper adoraed with enamels. — Below, *Agate cup; vase of red 
jasper, with dragons as handles, attributed to Benvenuto Cellini (16th 
cent.); va c e and goblets in rock-crystal ; more busts of Emperors with heads 
of precious stones; at the end, to the left, antique *Vase, beautifully 
mounted as a ewer; to the right, *Cup of sardonyx, the handle in the 
shape of a dragon studded with diamonds, rubies, and opals; to the left, 
another cup, with a sea-horse and lizard; tray embellished with pearls 
(16th cent.). At the right end, basin for a ewer, by Wenzel Jamnitzer 
(Nuremberg; 16th cent.). — More beautiful vases on the other side. 

Case V contains the Crown Jewels retained when the rest were 
sold in 1887. Among these are: the "Regent, perhaps the finest diamond 
in the world, weighing 136 carats and worth 12-15 million francs (50-60, 0001.) ; 
to the right, the Mazarin, another huge diamond, named also 'Fleur de Pecber" 
on account of its rosy glow; between them, the l Cdte de Bretagne\ a large 
ruby cut in the shape of a dragon by Gay, Mme. de Pompadour's lapi- 
dary. In front, sword of Charles X, executed by F. Bapst, and set with 
gems (on the scabbard, the letter N, for Napoleon). — Behind: to the 
right, facsimile of the Crown of Louis XV (false jewels), to the left, Crown 
of Napoleon I. (1804), in imitation of Charlemagne's crown (with antique 
jewels); between these, Plaque commemorating the Peace of Teschen (1779), 
an interesting German work. In front, watch taken from the Dey of^Ugiers 
in 1830; pearl dragon-broc/ch and elephant of the Danish order of the Ele- 
phant. — To the left, Grotto-work Brooch of Catherine de Mddicis, reset by 
A. Bapst in 1856. 

Case VI. Objects of the 16-17th centuries. — On the top shelf: Vases of 
rock-crystal and pietra dura set in gold. — On the middle shelf and below: 
Cups and ewers of sardonyx, agate, and jasper, with enamels, etc. — In 
the centre: * Scourging of Christ, a statuette in blood jasper, on a richly 
ornamented pedestal (16-17th cent.). 

Table with the "Shrine of St. Potentian, a German work of the early 
13th century. 

Case VII, behind, to the left. — To the left, silver plaque (repousse 
work), representing the holy women at the Sepulchre, from the abbey of 
St. Denis (Byzantine ; 11th cent.); behind, picture-reliquary of the 13th cent, 
(imitation Byzantine work) and a repousse" relief in silver (12th cent.). — 
In the middle, antique vases in porphyry and sardonyx, remounted in the 
12th cent. ; Vase of Eleanor of Aquitaine, wife of Louis VII of France and 
afterwards of Henry II. of England (12th cent.), in antique rock-crystal, 
mounted in the 12th cent.; in front, Chalice with champleve enamel, by 
G. Alpais (Limoges; 13th cent.), and Paten of the Abbot Suger of St. Denis 
in serpentine (12th cent.); "^Case for an evangelistary from the abbey of 
St. Denis (French; 11th cent.). Chalice in enamelled silver with the arms 
of the Guzmans (Hi-pano-Flemish; 14th cent.). To the right, chalice of the 
abbot Pelagius (Spanish; 13!h cent.). 

Case VIII, behind, to the right. Gold casket once belonging to Anne 
of Austria; vases, basins, and utensils from the Chapel of the Holy Ghost 
(see p. 147). 

In front of the end -window, under glass, * Madonna in silver -gilt, 
presented to the abbey of St. Denis by Queen Jeanne d'Evreux (French; 
early 14th cent.). 

The glass-cases along the wall opposite the windows and in front of 
the windows chiefly contain Enamels. The Louvre collection is considered 
the finest in Europe. The Muse'e de CI any (p. 276) also contains a very 
rich collection. 

In strict accuracy Enamel is a fusible preparation of glass, coloured 
by metallic oxides, used to decorate plates of metal. It may be either 
transparent or opaque. The decorated plates, however, also are known 
as Enamels. — Enamels are termed Cloisonne's when the coloured vitreous 
glaze is deposited in compartments formed by thin metal partitions (cloisona) 
following the outlines of the design on the surface of the plate; Champleve's 



Salle des Bijoux. LOUVRE. Right Bank 4. 149 

when the compartments are sunk into the thickness of the plate; Trans- 
lucides. or Transparents when the design is incised on the plate and covered 
with transparent enamel; and Painted (peints) when the entire surface of 
the plate is covered with coloured enamel. Cloisonne and champleve 
enamels were made hy Byzantine and mediaeval artists ; the translucent 
process was not invented until the 14th cent. ; while painted enamels 
occur for the first time about 1520. The art of painting on enamel was 
practised in France, more especially at Limoges, as early as the 12th cent* 
ury. It culminated in the 16th, and died out in the 18th century. The most 
famous artists in enamel were Nardon Pinicaud, Leonard Limosin, Jean and 
Pierre Courteys, and Pierre Reymond (see also p. 276). 

By the First Window, near the entrance: Transparent enamels of 
the 14-15th cent.; French, Italian, and Byzantine enamels of the 14-16th 
centuries. — Second Window; Champleve' Enamels of the 12-13th cent. 
(Rhenish and Limoges work), Crucifix in gilt bronze, chased (Romanesque 
style; 12th cent.). — Third and Fourth Windows: * Painted- Enamels from 
the studio of the Pe'nicauds (16th cent.). — Fifth Window: 'Goldsmiths 1 
work: etuis, medallions with miniatures, rings, chains, crosses, pendants, 
and other ornaments enamelled or set with pearls and gems; cameos; in- 
taglios. — Sixth Window: Limoges Enamels (16th cent.; from the Leroux 
bequest, 1896). — Seventh Window: Articles used-- at the coronation of 
the French kings: sword of the end of the 12th cent.; mantle-clasp (14th 
cent.); gold spurs (12th cent.); *Sceptre of Charles V (14th cent.); 'Hand of 
Justice 1 of the kings of the 3rd dynasty; ring of St. Louis, from the abbey 
of St. Denis. — Mirror and sconces of Marie de Me'dicis, set with sards and 
cut and engraved agates, presented to the queen by the Venetian Republic; 
poniard of the grandmaster of the Order of Malta (German; 2nd half of 
the 16th cent.). — Eighth to Twelfth Windows: Limoges enamels of 
the 16-17th cent., by L. Limosin, P. Reymond, Jean de Court, Cquly Noa'dher, 
Suz. de Court, and the Pe'nicauds. Also, fine green and white draught-board 
(11th window). 

Cases XIII-XVII, opposite the windows, contain enamels by P. Rey- 
mond, P. Courteys, and L. Limosin (in the 2nd and 3rd), and other Limoges 
enamels. In the 2nd: L. Limosin, Portraits of Melanchthon, Francis of 
Lorraine, a Rhinegrave, Francis II. and Henri II of France, and Limosin 
himself; in the 3rd: Portrait of Constable Anne de Montmorency. In the 
last case also is goldsmiths 1 work: "Shield and "Helmet of Charles IX 
(d. 1574) in gold and enamel; silver ewer and platter in repousse and chased 
work, representing the expedition of Emp. Charles V. against Tunis in 1536. 

We return to the Eotonde and thence (right) enter the — - — 

Salle des Bijoux Antiques , which is adorned with a ceiling- 
painting hy Mauzaisse, representing Time showing the ruins that he 
causes and the works of art he brings to light; below, Seasons, 
Elements, etc. The Ancient Ornaments exhibited here show the 
perfection to which the goldsmiths' and silversmiths' art of antiquity 
had attained. 

In the cases to the right and left are fibulse, bracelets, rings, necklace?, 
and earrings. 

1st Central Case. At the top : Gilded iron helmet (Gallo-Roman), 
with enamel ornamentation (found in the Seine near Rouen) ; conical 
Etruscan helmet, with golden circlet and wings; golden quiver; three 
golden crowns, the last of which is specially fine. — Below are golden 
crowns, necklaces of gold, silver, enamel, and pietra dura, some with 
delicate and artistic pendants. Side next the Seine: *198 (5th division, 
2nd row), Golden Etruscan necklace adorned with a head of Bacchus (?) 
with the horns and ears of a bull. — 2nd Central Case. "Treasure of 
Bosco Reale (near Pompeii), consisting of 94 silver articles discovered in 
1895 on the site of a house destroyed by the eruption of Mt. Vesuvius in 
79 A.D. These objects are Alexandrian, Greek, and Roman works of the 
1st cent., though some are in such admirable preservation that one is 



±0W Right Bank 4. LOUVRE. First Floor: 

almost tempted to believe they are not antique. They were presented 
to the Louvre by Baron E. de Rothschild. — Wall Case. Greek and 
Roman rings ; earrings and other Etruscan gold ornaments from Volsinii 
(Bolsena); Fortuna, of bronze plated with silver, found at St. Puits (Yonne). 
Silver vases and other objects found in 1836 at Notre- Dame -d'Alencon, 
near Brissac. 

Side next the Seine. 1st Case. Intaglios from Utica, Smyrna, etc. 
Fibulae. Gold and bronze rings. — 2nd Case. Cameos; intaglios; 'phalerae'' 
or ornaments for horses, etc. — 3rd Case. More objects found at Bosco 
Reale, silver plate, and gold jewelry. — 4th Case. Gold necklaces ; plaques 
of beaten gold; silver work; statuettes. — 5th Case. Silver vessels, jewels, 
etc., found at Notre-Dame-d'Alencon (see above). 

Proceeding in a straight direction, we next enter the — 
Salle des Sept Cheminees, or Room III, containing pictures of 
French masters of the end of the 18th and. beginning of the 19th 
century, as represented by Jacques Louis David (1748-1825), bis 
pupils, and contemporaries. 

Beginning on the left : David, *188. The Sabine women inter- 
posing between the Romans and the Sabines (one of his finest 
works; 1799), *199. Mme. Recamier (of classic beauty, with deli- 
cate grey tones; not quite finished), *197A, *197B (to the left and 
right of tbe preceding), Portraits. Above, to the left and right : 
Gericault, 339. Officer of chasseurs, 341. Wounded cuirassier; 
744. Prud'hon, Crucifixion (with a violet tinge and very gloomy ; 
damaged). — 360 (above the door), Girodet-Trioson, The Deluge; 
Prud'hon, 751. Empress Josephine, in a fine forest-landscape, *747. 
Crime pursued by Justice and Divine Vengeance (painted for the 
Criminal Courts in 1808), 759, 753, 752, 755. Portraits; Gericault, 
*338. Raft of the Medusa, a French frigate which went down with 
400 men on board, of whom only five were saved on a raft (1819; 
this painting created a great sensation, but has become very dark), 
344. Lime-kiln, 354. Stable; 392 A. Gros, General Fournier-Sar- 
loveze. — Rear -wall: 746. Prud'hon, Assumption; sketches by 
Prud'hon and Gericault; 779. Riesener, Portrait; David, *202bis. 
Coronation of Napoleon I., ordered by the Emperor, who paid 
3000 1, for it (1807), 196. Portrait; 135. Cochereau, Interior of 
David's studio; 391. Gros, Bonaparte at Arcole; David, *198. 
Portrait of Pope Pius VII. (1805), 197. Portrait, 202. Portrait of 
himself; Gericault, 348. Epsom Races in 1821, 343. Carabineer; 
*337. Gerard, Portrait of the Marchesa Visconti, in a wooded land- 
scape. — 328. Gerard, Cupid and Psyche, much admired in its 
day; 391A. Gros, Christine Boyer, first wife of Lucien Bonaparte, 
in a landscape; 393. Guerin, Return of Marcus Sextus, a Roman, 
banished by Sylla, who finds his wife dead on his return (1799); 
*756. Prud'hon, Rape of Psyche, a work to which the artist lar- 
gely owes his title of 'the French Correggio'; 362. Girodet-Trioson, 
Burial of Atala (from a story by Chateaubriand; 1808); *388. 
Gros, Bonaparte in the plague -hospital at Jaffa (1804); 523. 
Mme. Vigee - Lebrun, Giov. Paesiello, the musician; *332. Gerard, 
Portraits of Isabey, the miniature-painter, and his daughter (1795), 



Picture Gallery. LOUVRE. Bight Bank 4. 151 

— Above the door, 396. GuSrin, Pyrrhus taking Andromache and 
Astyanax under his protection (1810). — This room also contains 
numerous small portraits by David, Gerard, Prud"hon, Ingres, etc. 

Passing through the door to the left of the entrance (or to the 
right if we face the entrance), we reach the small — 

Salle Henri Deux, or Room II, a badly-lighted room, with a ceil- 
ing-painting by Blondel, representing the strife of Minerva and 
Neptune, Mars (left), and Peace (right). This room, also, contains 
works by French painters of the 19th century. — To the right : 
199a. L.David, Portrait; above, 186. A. Dauzats , Interior of a 
Spanish church ; *143. Courbet, The burial at Ornans , a realistic 
masterpiece, received at first with much antagonism ; 376 (355B), 
Gericault, Presumed portrait of himself; 622. Constance Mayer 
(Prud'hon's friend), The dream of happiness; 834. St. Jean, Fruit- 
gathering. — Rear wall: 955. C. Vernet, Charles X hunting; 934. 
J. Vernet, Environs of Marseilles ; 20. Bidauld, Landscape. — To 
the left, as we return: 993 A. F. X. Winterhalter, Portrait; 834a, 
834b. St. Jean, Flowers; 866. L. C. Timbal, Muse and poet; 826 B. 
G. Bouget, Portraits. — To the left of the entrance to the following 
room: 217 A. P. Delaroche, Youthful martyr; 83. Brascassat, Land- 
scape with cattle; Jacobber, 429. Flowers, 430. Fruit; 399. Guerin, 
Aurora and Cephalus; 192. David, Belisarius asking for alms; 329. 
Gerard, Daphnis and Chloe. — A fine view is obtained from the 
neighbouring window. 361. Girodet-Trioson, The sleeping Endymion 
visited by Diana in the form of a moon-ray. 

Collection La Caze (Room I). This collection, which was be- 
queathed to the museum in 1869 by Dr. La Caze, chiefly comprises 
French paintings of the time of Louis XIV (Rigaud, Largilliere), 
and of the rococo period (Watteau, Lancret, Pater, Boucher) and 
realistic school (Chardin) of the 18th century. There are also several 
paintings by Tintoretto, Velazquez, and Ribera. 

Beginning on the right: 48. Fr. Boucher, The artist in his 
studio. On the right wall: 47. Boucher, The Graces; 826. A. Boslin, 
Portrait; Largilliere, 488. Portrait of President de Laage, *491. 
Portraits of the painter and his wife and daughter, 490a. Portrait, 
485. Young lady as Diana, 484. Portrait, 487. A magistrate, 486. 
Portrait. Above, 1468. Tintoretto, Susannah and the elders. 50 
(beside No. 488), Boucher, Portrait; above, 335. Gerard, Em- 
press Marie Louise; *1725. Bibera, The club-foot (1652); 1736. 
Velazquez (?), Portrait; 1735. Velazquez, The Infanta Maria Theresa 
(more probably Queen Maria Anna); 887. De Troy, Portrait; 537. 
Lemoyne, Hercules and Omphale; above, 1249. V. Castelli, Moses 
smiting the rock ; 174.. A. Coypel. Democritus; 794. Bigaud, Portrait 
of an old man; 1946. Ph. de Champaigne , Portrait (1653); 326. 
CI. Lorrainf?), Landscape; above, 2194. P. de Vos, Stricken deer; 
960. Vestier, Portrait; 1948. Ph. de Champaigne, Portrait (half- 
length); 201. J. L, David, Bailly: 548. Lenain, Rustic meal (1642); 



1025 Bight Bank 4. LOUVRE. First Floor: 

above, 1311. Luca Giordano, Death of Seneca; 77. Bourdon, Interior; 
Bigaud, *792. Due de Lesdiguieres as a child, *793. President de 
Berulle, 791. Cardinal dePolignac; Largillitre, 486. Portrait, 487. 
A magistrate; 1945. Ph. de Champaigne , Mayor and syndics of 
Paris; above , Tintoretto, 1469. Virgin and Child with saints, 
1472, 1470. Portraits; 1335. Guardi, View in Venice; above, 
1310. Luca Giordano Tarquinius and Lucretia; above the exit, 
'2748. German School (18th cent ), "Woman as Flora. 

To the left, beginning again : Greuze, 378. Portrait, 379, Fabrc 
d'Eglantine, the poet, executed in 1794 under the Terror, 382. Por- 
trait of the artist, 376. Girl's head. 489. Largillitre, Portrait of an 
actor as Apollo; H. Bobert, 813. Winding staircase, 812. Fountain 
beneath a portions. 292-301. Works by Fragonard (best, 292. 
Pastoral scene, 297. Study, 298. Inspiration!. 765. Baoux, Girl 
reading a letter; 2135. School ofBube7is, Horse attached by wolves ; 
*659. Nattier, Portrait of Mile, de Lambesc as Minerva, with the 
young Count de Brionne (1732); above, 769. J. B. Begnault, The 
Graces; J. B. Pater, 690. Actors in a park, 693. Woman bathing; 
N. Lancret, 472. The cage, 473. Conversation, 471. Boldness rebuked, 
from Lafontaine, 470. Actor of the Italian comedy. Above, 1702. 
Juan Carreno, St. Ambrose distributing alms ; Nattier, 660. Knight 
of St. John, 661. Daughter of Louis XV as Vestal; Watteau, 988. 
Judgment of Paris, 985. 'Slyboots' ('La Finette'), 984. Indifference, 
986. Gay company in a park, 992. Pastoral scene, *983. Gilles and 
other characters of the Italian comedy, 990. Autumn, 989. The 
false step, 987 (perhaps by Merrier?), Conjurer, 991. Jupiter and 
Antiope. Pater, 691. The toilet, 692. Group in a park; 870. Tocque, 
Portrait; 117. Chardin (?), The return from school; 1041. French 
School (18th cent.), Portrait; Chardin, 104. Monkey as painter, 103. 
The house of cards, 93. Grace (replica of the picture mentioned at 
p. 144), 114. Kitchen-table. 105-116. Still-life; above, 888. De Troy, 
Portrait; Snyders, 2L48. Fishmonger, 2149. Game-dealer. 46. 
Boucher, Venus and Vulcan; Largillitre, 490 A, 490. Portraits. Above, 
2136. School of Bubcns, Fight between bears and tigers; 1724. Bihera, 
Madonna; 1471. Tintoretto, Venetian senator; 1733. Velazquez (?), 
Philip IV. ; 87. A. Fr. Callel, Triumph of Flora. — By the rear wall 
at the exit, two large bronze candelabra. 

The exit leads to the staircase (Escalier Henri Deux, p. 105) of 
the Pavilion de l'Horloge or Pavilion Sully, through which we may 
quit the Louvre, and where a bust of President Loubet, by D. Puech 
(1901), is placed. Beyond this staircase, to the left, is the — 

Saloon of the Ancient Bronzes, occupying the greater part of 
the Pavilion Sully or de VHorloge, the old chapel of the palace. The 
saloon (open from 12.30 ; 1 p.m. in summer), which has a fine iron 
door, contains a valuable collection of implements, weapons, etc. 

In the vestibule, in front of the window, is a lifesize gilded bronze Statue 
of Apollo, in good preservation, found near Lillebonnc, in Normandy. On 



Furniture. LOUVRE. Right Bank 4. 153 

the right and left are antique busts ; opposite are a chair, a tripod, and 
two glass-ca c es with large vases. On either side of the 1st window, bronze 
busts of Li via and Octavia. 

Central Glass Case : Etruscan cists, the largest of which were found 
at Falestrina, near Rome; buckles, keys, collars, and bracelets ; surgical and 
mathematical instruments; Greek mirrors, etc. Behind is an archaic 
Apollo, an excellent work of great historical interest. — By the Windows : 
in the centre, glass-case containing busts and statuettes of Greek origin, 
including one of Dionysos; Gallic wresller (Autun) ; fine figure of a bull 
charging (Autun) ; Athlete of the school of Polycletus. The larger statuettes 
are placed on pedestals beside the windows. By the middle window, 
Admirable head of a youth, found. at Benevento (a Greek work; the eyes 
were inlaid). Glass-cases with Greek and Etruscan mirrors. — Glass Cases 
to the Right, as we return: Statuettes and busts, chiefly of deities. — 
Wall Cabinets, beginning on the same side : Mounts, handles, vases in 
the shape of heads, domestic implements, antique candelabra of every 
type, lamps, etc. ; then weapons, fragments of statues, gladiator's armour 
from Pompeii, animals (bull, boar, cock), helmets. On the cabinets are 
placed busts. — Glas3 Case to the Left, as we return: Greek mirrors 
with supports, forlune-teller with movable disc embellished with reliefs 
(from Corinth), etc. 

The staircase to the left beyond this hall leads to the second 
floor (p. 164 5 Thomy-Thiery Collection, Mustfe de Marine, etc.). 

*Furniture of the 17th and 18th Centuries, The rooms con- 
taining this collection were formerly used for' the meetings of the 
Council of State, and are decorated with ceiling-paintings. Changes 
in the arrangement are very frequent. 

I. Salle Louis XIV. On the entrance-wall, Gohelins tapestry 
representing Parnassus, after Raphael (end of 17th cent.). In the left 
corner, *Cabinet inlaid with tortoise-shell and brass (early Louis XIV 
period). Left wall, in the centre, on a column, Porphyry bust of 
Alexander, by Girardon. To the left, Lower part of an armoire, with 
Apollo and Marsyas (marquetry) ; to the right, companion-piece with 
Apollo and Daphne, both hyBoule. On the exit-side, another piece 
of tapestry: Visit of Louis XIV to the Gobelins Manufactory (end of 
17th cent.), after Le Bran. On the floor is a carpet from the Savonnerie, 
intended for the Galerie d'ApoIlon (p. 146). To the right, on a painted 
wooden console (Louis XV style): Rape of Dejaneira by Nessus, in 
bronze, by Giov. da Bologna, and a fine bronze bust of Cupid (Italian; 
17th cent.); in the centre, a table of oriental porphyry and carved 
wood, from the Chateau de Vaux. By the wall, two commodes and 
two armoires, in the style of Boule; large console of carved and 
gilded wood, after Robert de Coite, the architect. At the end : Ebony 
cabinet (Louis XIV), and a commode inlaid with brass, tortoise-shell, 
and ebony. — The ceiling-painting represents France victorious at 
Bouvines (1214), by Blondel. — The paintings above the doors are by 
Belin de Fontenay and Le Sueur. The red velvet curtains are bordered 
with Gobelins tapestry (17th cent.). 

II. Salle Louis XV. A large carpet from the Savonnerie (see 
above) covers the floor. In the middle, ^Bureau of Louis XV by 
GZben, the cabinet-work by Riesener and the bronze work by Duplessis ; 
tables of Louis XV, on one of which stands a Child with a cage, in 



±U-± HhjM Hank 4. JUUUVKJS. tirsttloor: 

marble, by Piejalle. Adjacent, lacquered desk called 'Bureau de Ohoi- 
9euV. Beside the entrance, 658. J. M. Xattier, Portrait of Mmo. 
Adelaide de France; below, on the chimney-piece, Pajou. Bust of 
Mmo. Dubarry (1773). By the 3rd window of the left wall, on a 
Louis XV commode , Bust of Louis XV. by Pemoline (bronze). By 
the exit, 000. C. A. Van Loo, Marie Lesezinska, queen of Franco. 
Above, beautiful desk LnOhinese lacquer-work, formerly at Versailles. 
Hung on the walls are four Gobelins tapestries with a rose-coloured 
back-ground, by Xelhon (after Boucher and Teissier), executed in 
L757 for the Salle du Conseil in the chateau of Compiegne; four 
others represent the story of Finable and Armida and the myth of 
Cupid and Fysehe, after Coi-pcl. The paintings above the doors are by 
Boucher and Chardin. In this room are articles ot' furniture, bronzes, 
sculptures, and the Lenoir collection (snuff-boxes, bonbonnieres). In 
the glass-case by the 3rd window, Wax-portraits, etuis, sword of 
Louis XV, musket made for the dauphin. — On the ceiling, France 
receiving the charter from the hands of Louis XV ill, by Blonde!. 

III. Salle Louis XVI. By the entrance, 820, Koslin. Homage 
to Cupid; Nuptials of Angelica and Medoro. tapestries designed by 
Coypel : below, 310. Commode by Ficsener. Farther on, 266. Prouait, 
Charles X and his sister as children. Rear wall, Cavalry engagement, 
after Casanova (Beauvais tapestry in a gilt Louis XV frame). In 
front, on a console of white marble and gilt copper, Bust of a Vestal, 
in marble, by Jlcudon. Exit-side, Two Gobelins hangings ( l Les Mois 
Lucas'; 1 8th cent). Commodes by Biescncr. 382. Two magnificent ca- 
binets by G.Bennemann. with medallions in Sevres porcelain. Busts. 
In a glass-case in the middle of the room. Clock with figures of the 
Graces, Sevres porcelain, blue Chinese porcelain with French bronze 
mounts, ewer and basin owned by Mme. Dubarry, etc Above the 
doors, 242,234, 241, 247. Pegs and still-life, by DesporUs. Drawings 
by Fraoonard. Lancret. Pater, etc. To the left, at the central door. 
magnificent Sevres vase, mounted in bronze by Baixot and Thomyre; 
on each side a terracotta sphinx with the head of a lady of fashion 
(Louis XV). — Ceiling-painting: Triumph of Justice, by Drolling. 

IV. Salle LovisXVl. Carpet like that in Room 11. Two Go- 
belins tapestries, with arabesques ('Los Mois Arabesques'; end of 
17th cent.). Opposite the right door. Beauvais tapestry (Diana's 
curtain), after Oudru (18th cent.). Opposite the left door. Gobelins 
tapestry (Arms of France), after Le Brun (17th cent.). Above the 
doors. Pierre and Xatoire. 655. Juno, 054. Venus. Drawings by £Va- 
aonard, Lancret. etc. To the right and left of the chimneypiece, 
815. Queniin de hi Tour, Louis of France, son of Louis XV ; 672. 
J.B::e, Puke of Angoulome. son of Charles X (pastels). The bronze 
candelabra on the chimneypiece (Faun and Bacchante) are by Clodion. 
In front of the left window is a furnished room : the bed, of carved wood 
and adorned with silk embroidery, designed by PhiL de la Salle 
(Louis XVI period); 320. Table attributed to Fie<ener and Gouthiere, 



Drawings. LOUVRE. Bight Bank 4. 155 

'made and presented to the queen by M. de Fontanien, chief superinten- 
dent of the crown-furniture in 1781'. On the right of the window, 802. 
//. Robert, Portico of Marcus Aurelius; in the corner, 1317. J.Vivien, 
Maximilian Emmanuel, Duke and Elector of Bavaria. In the centre, 
some fine Louis XV cabinets from the Thorny -Thiery collection 
(p. 165), temporarily placed here. ■ — Ceiling -painting: Divine 
Wisdom dictating laws to kings and legislators, by Mauzaisse. 

V. Salle Louis XVI, with a similar carpet (Savonnerie). 
On the walls, Gobelins tapestries of the so-called Raphael Cartoon 
series, the border by Lemoine- Lorain (late 17th cent.): Homage 
to Mercury, Bath of Psyche and Cupid, Dancing in couples, Bound 
dance, Musicians (by the door on the left). On the chimney- 
piece between the doors, musical-box with bas-reliefs and a nymph 
in the style of Clodion. Furniture by Bennemann, M. Car tin, 
Lorta, and Riesener. Bureau by Levasseur, with bronze statuettes 
of Voltaire and Jtousscau. Above the doors, No number, Huet, Dog 
attacking geese; 893, 894. Anne Vallayer - Coster , Attributes of 
Painting, Sculpture, and Music. To the right of the exit, 805. 
H. Robert, View of a park. By the 3rd window, under glass, 
*Bacchante with a child, by Clodion. Busts; porcelain. — On the 
ceiling, Triumph of Marie de Mtfdicis, by Carolus-Duran. 

We may now either pass through the door to the left and enter 
the gallery which contains the His de la Salle Collection of up- 
wards of 300 drawings by old masters and a temporary exhibition 
of Chinese paintings, or we may enter (door to the right) the — 

Collection of Drawings (Musee des Dessins), which occupies 
most of the N. side of the first floor of the Old Louvre, and rivals 
the great Florentine collection in the Ufflzi, numbering about 
50,000 in all. The most celebrated of these drawings are exhibited, 
under glass. A few oil-paintings and some interesting tables (18th 
cent.) and small bronzes are shown also. Changes are frequently made. 
— Catalogue of the Drawings, Cartoons, Pastels, Miniatures, and 
Enamels, 75 c. Iuventaire General of the drawings in the Louvre 
and at Versailles, by Guiffrey and Marcel (1906; 25 fr. ; illustrated). 

I. Room (PI. 6) or Vestibule. To the left of the exit, No number, 
J. Boze, Portrait (pastel). 1400, 1957. French School (18th cent.), Female 
portraits. To the left and right of the windows, 1407, 1406. French School 
(18th and 77th cent.), Female portraits. Ceiling-painting: Venus and Juno, 
by //. Leroux. — II. Room (PL 7). Early Italian Masters : K Mantegna, "Lorenzo 
di Credi, " Signorelli, Pinturicchio , Perugino, Pollaiuolo, F. Lippi. Gobelins 
tapestries. On the upper part of the walls: Italian Schools (10th cent.), 1638. 
Aristotle, 1629. P. Apponius, 1637, Plato, 1653. Solon. — III. Room (PI. 8). 
Italian Masters. *Drawings by the most celebrated artists: Leonardo da 
Vinci, Michael Angelo, and Raphael. Gobelins tapestries with the story of 
Moses. — IV. Room (PI. 9). Italian Masters. 'Drawings by Correggio, Andrea 
del Sarlo, Fra Bartolomeo, and others. To the left of and opposite the 
entrance, Correggio, 18, 17. Vice and Virtue. — V. Room (PI. 10). Venetian 
Masters: Bellini, Titian, Tintoretto, Paolo Veronese, and others. To the right 
as we enter : "459. Velazquez, Sketch for the picture of the Lances, and 
other drawings by Velazquez and Murillo. — VI. Room (PI. 11). Flemish 
Artists of the 15th, 16th, and 18th cent. : B. van Orley, Brueghel the Elder, 



lbb Right Bank I. LOUVRE. First Floor: 

Ph. de Champaigne, *Rirtuns, etc.; and German artists, Master F. 8. (1466), 
the two Holbsins, iSchongancr, *Diircr, and others. 

VII. Room (PI. 12). Flemish School. Jordaens, "Rubens, Van Puck, etc. 

VIII. Room (PI. 13). Dutch Masters: especially "Rembrandt, 

IX. Room (PI. 14). iPastels. *819. Q. delaTour, M me. de Pompadour 5 
Rosalba Carriera, Venetian painter (185, 187); Kegnaidl (1910); Chardin ((178, 
679, Caricature of himself); Q. de la Tour (828. Portrait of himself); Per- 
romieaii, etc. In the middle of the room, Table of the Directory period, 
with a bronze group (Hercules, Dejaucira, and Nessus) of the school of 
Giovanni da Bologna, and two glass-cases containing about 1 GO *Miniatvres 
of the 18th and early 19th centuries, by Hall, Fragonard, Lawrence, IHi- 
mont, Gne'rin, etc., belonging to M. F. Poistau (on loan). Beside the 
entrance to the Collection Thiers, two commodes with bronzes: Fortune 
(Ital. ; L6th cent.), Geometry (school of Gioy. da Bologna; p. 159). — X. Room 
(IT. ID). "Ingres. — We return through Eoorn IX and enter the — 

Collection Thiers, a collection of works of art bequeathed to the 
Museum by the ex-president of the Republic and his widow, which occupies 
the two following rooms. Of the 1470 very miscellaneous objects the 
majority are small, and few are of much importance. Catalogues provided. 
In the first room is a portrait, of Thiers, by Bonnat. The second room is 
principally devoted to porcelain. 

Continuation of the Drawings.— XI. Room (PI. 17). French Artists (19th 
cent.): David, Gerard, PruoT/ton x Qericault, Ores. — XII. Room (IT. 18). 
French Artists (19th cent.): Gericatdt, Delacroix, Decamps, Chorlet, Ifeim, 
Millet, Ettei, Regnault, et;. Also, Boning ten. At the end, near the staircase 
(PI, F$ pp. 158, ii'i). Water-colours by Jatquemarl, By the 1st and 2nd win- 
dows: /. P, Mine, The kill, Terriers (groups in wax). 

We retrace our steps to Eoom X and enter the adjoining — 

* Collection of Smaller Medieeval, Renaissance, and Modern 
Objects of Art (Musie des objets d'art du Moyen Age, dc la Renais- 
sance et des Temps Modernes), which may he reached also by a stair- 
ease ascending from the 4th room of the Asiatic Museum (p. 106). 

Room I (PI. 16). *Ivory Carvings of the 6-19thcent., some very 
Valuable [catalogue by Molinier, 1896; 5 fr."). 

In the cabinets round the room: 197 (on the left as we enter"), 
Bacchanal by 0. van Opstal ; Madonnas ; liturgic combs; caskets (one of 
the 9th cent.); diptychs and triptychs, including a Byzantine example of 
the 10th or 11th cent, and (*No. 141) a Florentine specimen of the 15th 
cent., which probably once belonged to King Matthew Oorvinus of 
Hungary; hook -bindings; chessmen and draughtsmen; hunting- 
horns (Nos. 21, 22); mirror-cases; fans; writing-tablets; loving-cups 
('vidrecomes') ; powder-flasks, etc. In the central glass-ease: 116. 
Ivory harp (Franco-Flemish; 15-16th cent.), perhaps once in the 
possession of Duchess Yolande of Savoy; 244. Descent from the 
Cross (13th cent.); *53. Madonna and Child, from the Sainte-Cha- 
pelle (French ; 14th cent,); *39, 52. Saddle-how and cantle (Ital. ; 
13th cent.), the former with figures of women upon horses and ca- 
mels; *60. Coronation of the Virgin (late loth cent.); 12. Byzantine 
triptych (10th cent.). Between the windows: *112. Altar-Piece of 
Poissy : about? ft. inheight, an Italian work of the end ofthe 14th cent., 
in carved and inlaid bone, with 71 different reliefs: in the centre is 
the history of Christ, on the left that of John the Baptist, on the right 
that of St. John the Evangelist, below, the Apostles. Tape-tries: 
on ilte short wall, to the left, The Sacrament. The Mass (French ; 



Donation Rothschild. LOUVRE. Sight Bank 4. 157 

16th cent); oil the long wall, Christ appearing to Mary Magdalen 
(Flemish; 16th cent.); Legend of St. Ojientin (French ; 16th cent.J; 
on the wall to the right, Courtship (Flemish; 15th cent.). Fine frag- 
ment:; of old stained glass in the windows. 

In Rooms II, III, and IV are more drawings of the Frencli School 
and some enamels. 

Room II (PI. 3). Sixteenth Cent. : F. Clouet, Lagneau, Daniel da Monsliers. 
Central case: Albums of drawings by "Jacques Cctllot and Lagneau. Above, 
to the right and left, Pictures by Le Sueur, for the Hotel Lambert (p. 269). 
— Room III (PI. 4) Seventeenth Cent. : Goypel, de Troy, G rardon, Jouvenet, 
Poussin, CI. Lorrain, R. Nanteuil, etc. Above, right and leff, Le Sueur, 
Paintings for the Hotel Lambert. Central case : Enamels by Pelilot (Louis XIV, 
Mme. de Maintenon, Mme. de Sevignd, etc); Bauer, 461. Cavalcade of the 
Pope, 402. Procession. — Room IV (PI. 5). Eighteenth Cent.: "Watteau, 
Boucher, Oreuze, Chardin, Fragonard, Lancret, Leprince, More'w the Younger, 
Paler, St. Aubin. Above (left), 872. L. Tocqui, J. L. Lemoyne, the sculptor; 
793. H. Robert, The Maison Carrde at Nimes ; 970. G. Voiriot, J. B. M. Pierre, 
the painter. — Rear wall, 96-$, F. H. Drouais, G-. Coustou, the sculptor; 275. 
J. Dumont (leltomain), Mme. Mercier, nurse of Louis XV; 276. /. G. Duplessis, 
Allegrain, the sculptor. On the right, 825. Roslirt, Jeaurat ; 800. H. Robert, 
The Pont du Gard; 903. L. M. Van Loo, Portrait of himself. Central case: 
Enamels by Fragonard, Guirin (Portrait of General Kldber), Dumont, Hesse, 
Isabey, Augustin, and others. Sketch-book of Moreau the Younger. Cases 
by the walls (right and left): Miniatures (Lenoir Collection). Between the 
windows: 797. H. Robert, Triumphal arch at Orange. Over the doors, 
Bogs and Still-life, by Desportes. 

Room V (PL 6). *Donation Rothschild, valued at 800,000 1. The 
donor, M. Adolphe de Rothschild, also bequeathed 10,000Z. for the 
decoration of the sumptuous little saloon, which has red velvet 
hangings, a rich parqueted floor, and a splendid gilded and coffered 
Venetian ceiling of the 15th century. On the end-wall is a Flemish 
*Tapestry of the 15th cent. (Miracle of the loaves and fishes). 

Left wall. In a glass-case: Religious objects: box for an Agnus Dei 
(German; 15th cent.); two paxes (German and Italian; 16th cent); 
curious knife (Flemish; early 16th cent); reliquary (Flemish; 16th 
cent). Below (farther on), pendants (France; 16th cent.); agate 
rosary with reliefs in enamelled gold (France; 16th cent); reliquary- 
jewel (Spain; 16th cent.). In the centre (beginning again): mon- 
strance-reliquary (Venice; 15th cent.); *Cross- reliquary in gold 
(France; 15th cent); Virgin and Child, in ivory (14th cent.);*Oenserin 
lapis-lazuli (Venice; 15th cent). Above (beginning again): *Holy- 
water stoup (France; 13th cent.) ; *Aspersorium (Italy; late 15th cent); 
'"Madonna and Child (Germany; 15th cent); *Crozier (Spain; 16th 
cent); monstrance-reliquary (Spain ; 16th cent.). — Farther on, by the 
wall: 20. Sepulchral brass (Flanders; 1455); 76. Madonna and 
Child (relief; Germany: 16th cent). — Ina glass-case at the end, 
triptych-reliquary from the abbey of Floreffe (Flanders; 13th cent); 
on a cabinet to the left, St. Catharine of Alexandria (French; 
16th cent); on the right, *Madonna and Child, relief by Agostino 
dl Duccio (1418-81 ; Florence). 

Right wall. In the glass-case: Religious objects continued (from 
left to right). Below, two amulet-chains (Spain; 16th cent.); 



158 Right Bank 4. LOUVRE. First Floor: 

enamelled gold necklace with a scene from the Passion on each 
link (German; 16th cent.); portahle reliquary (Spain; 16th cent.); 
incense-spoon (France; late 15th cent.); rosary of carved "boxwood 
(Flanders; early 16th cent.); large head of a rosary carved with 
small figures (Flanders ; early 16th cent.). In the centre (beginning 
again): Reliquary of the Flagellation (Venice ; 15th cent.); *St. Catha- 
rine (Germany ; early 16th cent.); gold monstrance (Venice ; 15th cent.). 

Room VI (PI. 7). Oriental Fayence. Case to the left: Fayence 
from Damascus (16th cent.), Syria, and Cairo. — Left wall: Spanish- 
Mauresque plaques (15-1 6th cent.), some with metallic lustre. — 
Central case , 2nd row : Round casket made for Almogueira , son of 
Abd-er-Rahman III., Prince of Cordova in 967. Above, Lamp from 
a mosque (1347-61). Below , Persian fayence , engraved gold ear- 
ring (Byzantine). On the left, Bronze ewer (Siculo - Arahian ; 
ll-12th cent.). On the right, Ivory plaque and comh (Indian). 
Glass-case hy the 2nd window : Bronzes, including the *'Barherini 
Vase', with the name of Ahdul Mozhaffer Yusuf, sultan of Aleppo 
(1236-60). Case by the exit: in the centre, Large damascened 
copper vase, known as the 'Font of St. Louis' (Arabian; 13th cent.); 
"basin from Mossul (14th cent.); copper ewer with silver incrustations 
(Mossul; 13th cent.); koursi-tray (Cairo; 14th cent.). — To the left 
of the exit, Fountain in Arabian mosaic (Cairo; 14-1 5th cent.). 

Vestibule. The table-case in the centre contains oriental arms. 

The small staircase (PI. F) to the left as we leave the vestibule ascends to 
the 2nd floor (p. 164). — For the Remainder of the Renaissance and Modern 
Objects of Art, see p. 159. 

Leaving Room VIII by the door at the end we reach the top 
of the staircase leading to the Asiatic Museum (p. 106). We turn 
to the right and enter the rooms of the East Wing. 

Salles de la Colonnade , three rooms containing Asiatic Anti- 
quities, from Susiana and Chaldaea. Illustrated catalogue of the 
Chaldsean antiquities, hy L. Heuzey (1902; 6 fr.). 

I. Room. Small antiquities. Assyrian tiles; Grseco-Babylonian and 
Syro-Chaldsean statuettes and other sculptures ; cylinders, engraved gems, 
and seals of great delicacy. ■ — Case 1 (to the left). Archaic steles of Our- 
Nina, King of Sirpourla. Case 2. Monuments from the Panjaub; Grseco- 
Babylonian statuettes. By the 1st window on the left: Grseco-Babylonian 
vessels used in incantations ; Phoenician monuments, etc. Long wall on 
1he left : Archaic tiles (excavated by M. de Sarzec). Central Case : Jewels ; 
royal arms from Chaldsea; statuette of Gndea, patesi (i.e. viceroy) of 
Sh-pourla (Cros expedition). To the right, the silver vase of Entemema, 
with engravings, dating from before the 30th cent. B.C., from the excavations 
of Sarzec at Tello (Chaldsea). In the 1st Case to the left: Grseco-Parthian 
gold ornaments from Cyprus ; African lamps (from Lixus) ; Asiatic weights 
(Syria). 2nd Case (left): *Achsemenian jewelry, gold collars, and coins of 
the Satrap Melkart of Aradus (the modern Tortosa, in Phoenicia; 359-338 
B.C.), found in a bronze sarcophagus (see p. 169); "Byzantine jewelry, gold 
chain and pendants, with medallions of the Byzantine usurper Phocas 
(602-610 A.D.); coins of the Seleucidse; small sceptre with a lion's head 
and filigree work; ivory statuette of an Elamite princess; archaic gold 
and bronze statuettes; Anzanite jewelry, dating from before the 12th cent. 
B.C.; limestone vase, dating from before the 30th cent. B.C. — 3rd Case 



Asiatic Antiquities. LOUVRE. Right Bank 4. 159 

(left): Phoenician glass, rhyta, Babylonian statuettes-, Phoenician jewelry; 
Assyrian inscriptions of the reign of Sargon. 1st window on the right: 
Chaldsean plans, tablets, and impressions (Sarzec expedition) ; between the 
windows on the. right, Chaldsean reliefs of religious scenes (Sarzec expedi- 
tion). 2nd Case (right): Votive bronzes, reliefs, and cylinders from Chaldsea. 
By the second window on the left : fine Assyrian bronze lion, with a ring 
in its back (Khorsabad). In the adjoining cabinets: Glazed tiles from 
Babylon; fragments of bronzes-, Chaldsean antiquities, etc. 

II. Boom. 1st Section: in the middle, plans of the tumuli where the 
antiquities were found by M. Dieulafoy (1881-86); on the entrance-wall, 
magnificent 'Frieze of glazed and painted terracotta, representing the 
archers of the 'immortal guard' of Darius ; to the left, stair-railing from 
the palace of Artaxerxes Mnemon, also in terracotta; on the partition- 
wall, the crowning-ornaments of the pylons of this palace, with lions in 
the same material; on the right side, fragments of a bath. Right-hand case: 
Persian pottery, Acheemenian vases; mask of the Parthian period. — 
2nd Section : At the back, *Two-headed capital of one of the 36 columns 
(each 68 ft. high) which supported the roof of the throne-room of Arta- 
xerxes Mnemon (B. C. 404) ; in the cabinets, fragments of the frieze of 
archers, etc. In the flat case by the 1st window to the right: Sassanide 
or Arab pottery (8-llth cent.); vases and spoons used in the cult of Mazda 
(Sassanide period). By the second window, large funeral urn. 2nd Case to 
the right: cylinders from Susa, Chaldsea, and Assyria; seals (Sassanide 
and in the Greek style; Parthian period). 1st case on the left: Egyptian 
amulets, statuettes of Anai'ta, Achsemenian die. 2nd Case on the left: 
Facing of a door from the acropolis of Susa; Parthian, Sassanide, and 
Arabian coins; medals, including a fine silver tetradrachma of Eucratides. 
Left window: large tiles from the palace of Artaxerxes. 

III. Boom. Continuation of the above collection. Beproduction of the 
throne-room of Artaxerxes Mnemon, which covered an area of 11,000 square 
yards. By the second window to the left is a *Bust of a Graeco-Iberian 
Woman, a unique specimen of the 5th cent. B. C, found in Spain in 1897. 
On the right and left of the room : Winged bulls of the time of Darius I. 
On the walls is displayed a panorama of the region where the excavations 
at Susa were carried out. 

IV.-YIII. Rooms. Continuation of the Mediaeval, Renaissance, 
and Modern Objects of Art (see p. 156). Illustrated catalogue of 
the bronzes and brasses (1904), 7 fr. 

IV. Room or Salle do Dome. Case to the left of the entrance: Bronzes 
by Barye; farther on, * Armour of Henri II of France. On the rear wall, 
Flemish tapestries: Mo;es, the Madonna, and Pool ofBethesda (15th cent.), 
Last judgment (16th cent.), and St. Luke painting the Virgin Mary (after 
the picture by Rogier van der Weyden in the Pinakothek at Munich). Case 
on the left of the exit: Caskets, bronzes (torch-holders, ewers, etc.) from 
Flanders, Saxony, etc. (15-16th cent.), statuettes, pewter dishes (some by 
F. Briot), etc. Opposite: Shields, swords, etc. By the walls, Renaissance 
furniture. Glass-case opposite the 3rd window: Bronzes from the studio of 
Giov. da Bologna (Geometry ; Venus) and others. Other bronzes (by Barye, 
etc.) in the 4th case. — In the glass-cases by the 3rd window: English 
French, and German watches, clocks, and compasses (16-lTth cent.). By 
the 1st window: Bronze statuettes of the Italian Renaissance: Riccio, 
45. Arion, 48. St. Sebastian, 46. Bust of himself; 27. School of Donatello, 
John the Baptist; 44. Savelli (surnamed Sperandio), Equestrian statuette 
of G. F. Gonzaga. Behind the central glass-case: CuttiDg weapons of 
the 15 -16th cent, and a hunting-horn in copper gilt (16th cent. ; No. 16S). 
— By the 2nd window are articles on loan. — Glass-case on the left: Head 
of a satyr, in bronze (Italian; 16th cent.); below, 96. P. Vischer, Bust of 
himself (16th cent.); other Italian and Flemish bronzes. — Iu the table- 
cases around the room: reliefs in metal; paxes; cutlery, spoons, etc.; 
Italian plaquettes (15-16th cent.); French and German medals (16-17th cent.). 



160 Right Bank 4. LOUVRE. First Floor: 

V. Room. Italian majolica or fayence. The finest specimens, dating 
from the 16th cent., were made at Deruta, Faenza, Forli, Venice, Gubbio, 
Pesaro, Urbino, and Castel Durante. In the centre is a fine Renaissance chest. 
Under glass, opposite the 2nd. window: Basin in chased copper of the 
13th cent. (Franco-German work). 

VI. Room. Fine wood-carving from the Salle dea Sept-Cheminees. 
This apecimen and that in the next room are the only carvings of the 
royal apartments now extant. Silk hangings of the 16th cent. ; portrait of 
Henri II, opposite the window 5 in front, Emp. Charles V., a painted high- 
relief (German ; 16th cent.), on a fine cabinet. By the left wall is an alabaster 
bust of Otto Heinrich I., Count-Palatine of the Rhine. — In the central 
cases : fayence from Lyons (16th cent.), Rouen (18th cent.), and Moustiera 
(18th cent.). — Glass-cases at the windows: medallions and other carvings 
in box-wood, very delicately executed ; carvings in other substances, in- 
cluding a relief in lithographic stone after Aldegrever, representing the Duke 
of Bavaria and Agnes Bernauer of Augsburg. 

VII. Room, with alcove (to the left of the entrance) in which Henri IV 
breathed his last. The Venetian state-bed (16th cent.) did not originally 
belong to this room. The wood-carving is from the rooms of Henri II 
in the Louvre, and was restored under Louis XIV. Fine cabinets. On the 
end-wall is a portrait of Marie de Me"dicis, facing which ia one of Henri IV. 
In the central case: *Large dishes by Bernard Palissy. In the other cases: 
Salt-cellars, etc., by the same artist; fayence from Nevers, Beauvai. , 
St. Porchaire, etc. 

VIII. Room. Two large Sevres vases. 1st window on the left: Casket 
presented by the city of St. Petersburg 'a la nation amie\ on a table of 
Florentine mosaic. 2nd window, Mosaic map of France. To the left of 
the exit: Map of France in pietra dura, from the imperial gem-cutting 
works at Ekaterinburg (preaented by the Russian government, 1900). 1st Case 
(centre): tazze and other Venetian glass. 2nd Case (centre): Pottery from 
Cologne, Nuremberg, and Nassau (16th cent.). Portraits of Louis XIII and 
his queen Anne of Austria, by Phil, de Champaigne (?), and Flemish furniture. 

On leaving Room YIII we find ourselves at the top of the stair- 
case of the Musee Egyptien, which is continued on the landing and 
in the rooms to the right (comp. Plan of first floor, p. 116). 

Egyptian Museum (continued). — The rooms to the right con- 
tain the smaller Egyptian antiquities. Considerations of space and 
other Reasons have made it necessary to place certain of the exhibits 
in rooms to which they do not properly belong. 

Staircase. Above, two cases containing furniture, musical instruments, 
hunting implements, etc. 1st landing (as we descend): Textiles, distaffs, 
sandals, etc. 2nd landing: Figurines, models of buildings and boats, mat- 
work, baskets, etc. 

I. Salle Histoeique , with a ceiling-painting by Oros, repre- 
senting the Genius of France encouraging the arts and protecting 
Greece (1827-31). 

The objects here are mainly of historical value. At the entrance : 
Crouching dog, in black granite; bronze statuette of the Saite period (under 
glass). In the centre, on a pedestal surrounded by an octagonal glass-case, 
fine canopic vases in enamelled clay (2nd Theban period). Behind, richly 
damascened bronze statuette of Ammon-Ra, with the features of Amen- 
ophis III. (ISth dyn.). — Glass-cases: sepulchral statuettes, partly covered 
with beautiful blue enamel; scarabeei, frequently occurring symbols of the 
sun-god (royal names on many of them); golden ""Ornaments coated with 
coloured vitreous paste. Case by the left wall: Golden masks of mum- 
mies; sepulchral head-rests in alabaster. On the chimneypiece are canopic 
vases. By the 1st window: Portrait of Champollion, the Egyptologist, by 
L. Cogniet (1831). 



Egyptian Museum. LOUVRE. Right Banlc 4. 161 

II. Salle Civile, at present occupied by exhibits of industrial 
art, with a ceiling-painting by H. Vernet: Bramante, Raphael, and 
Michael Angelo before Pope Julius II. (1827). 

Central case: *Vases in alabaster, pietra dura, and earthenware of the 
remotest epochs; pottery. Wall-cases : Pottery and vases in pietra dura. 
To the right of the entrance: Ivories, etuis, statuettes, kohl-boxes, charms, 
mirror-handles, castanets. To the left of the entrance : Specimens of pietra 
dura, amulets, scarabsei, vases, necklaces. To the right of the exit: Objects 
in wood, toilet articles (*Two spoons in the form of a swimming nymph 
holding a duck), boxes for games. To the left of the exit: pottery, terracotta 
and enamel vases, etc., goblets with fish and lotus-flower ornamentations, 
necklaces, rings, amulets. By the 1st window: Objects in bronze and wood 
covered with gold-leaf. By the 2nd window: Rings, scarabsei, ornaments, etc. 

III. Salle Funeraire, interesting as illustrating the Egyptian 
worship of the dead, the belief in the immortality of the soul being 
a fundamental dogma of the ancient religion. — The ceiling-painting, 
by Abel de Pujol, represents Joseph as the saviour of Egypt (1827). 

The belief in immortality explains the extreme care which the Egyptians 
took to preserve their dead, the time (as much as TO days) bestowed on 
the embalming, and their spacious and magnificent tombs. Our information 
regarding the Egyptian notions of the soul's condition after death is chiefly 
derived from the 'Book of the Dead', a copy of which was laid beside each 
body. This work contains hymns, prayers, and instructions as to the 
behaviour of the deceased in the next world, what answers they are to 
make to the judges, etc. — To the right of the entrance, Limestone head of 
Amenophis IV. At the entrance is a painted statue of a woman presenting 
an offering to the dead. Left wall: Papyri with texts from the Book of the 
Dead. Above the fire-place: Mural and other paintings of the 2nd Theban 
epoch. In front, under glass, Statuette in polished acacia-wood. To the 
right and left of the fire-place; 3072-3. "Fragments of a royal papyrus, a 
magnificent specimen in linear hieroglyphics of the Book of the Dead, 26 ft. 
in length, and although upwards of 3000 years old in remarkable preservation. 
In the middle of the room : ** Statuette of an Egyptian Scribe, painted red, 
with eyes inserted (5th or 6th dyn. •, 18th cent. B.C.), probably the best 
example of ancient Egyptian sculpture (found at Sakkara). The octagonal 
case round it contains ink-horns and palettes, weights, Egyptian measures 
(with hieroglyphics), etc. Cases on the right and left : Well-executed statuettes ; 
sculptured fragments in stone and wood of various periods ; reliefs. — Case to 
the right (from the entrance): Sculptors" models of the Saitic period. To the 
left (from the entrance): Statuettes, etc. (Memphian and first Theban periods). 
By the 1st window: Sepulchral statuettes in wood. Right wall, two cabinets 
with mummy cases and cartonnages covered with painting. The flat cases 
contain amulets. In the left corner (from the entrance): Wooden statuette 
of a functionary. In front of the 2nd window, "Statuette of Tui, priestess 
of Min, god of Coptos (Thebes), of delicate workmanship (acacia-wood) and 
admirably preserved (20th dyn. ; 12th cent. B. C). By the 3rd window are 
stone statuettes of Sekhmet, figures of cynocephali, etc. In front of the 
exit, Statuette in bronze of the hawk-headed Horus, offering a libation to 
his father Osiris (vase missing). On the right and left of the exit : Statuettes 
and reliefs of the second Theban period. To the right, Head of Psamme- 
tichus III. (26th dyn.). 

IY. Salle des Dieux, with a ceiling-painting by Picot (1827), 
representing Study and Genius revealing Egypt to Greece. This 
room is devoted to objects illustrating Egyptian mythology : statuettes 
and attributes of the gods (mostly in bronze), etc. 

In a line with the door, on a pedestal, Bronze statuette of Queen 

Karomama (Bubastic dynasty; Thebes), richly damascened (restored). To 

the right and left, as we enter, Statuettes of divinities in bronze, stone, etc. 

In the flat cases: 1st window, Bronze attributes of deities, sistra, sceptres, etc.; 

Baedekkk. Paris. 16th Edit. H 



162 Right Bank 4. LOUVRE. First Floor: 

2nd window, arms and implements. Between the windows, Mummy-cases 
(one entirely gilded). Left wall: 1st case, Statuettes of Ea, Selk, Sekh- 
met, etc.; 2nd case, Osiris, Isis. To tlie right and left of the exit: Horus 
(right), Thotli (left), and other deities. In front of 1he exit, bronze 
statuette of Mesu, dating perhaps from the ancient empire. The central 
S: Glass-case contains a magnificent collection of gold jewels and ornaments, 
statuettes in gold and enamel, a goblet, a chain, boats, gems, glass-paste, 
and, on the window-side, a "Go 1 ' 1 °toud of Osiris, Is-' ; \ Horus (22nd dyn.). 
Above the fire-place, Sekhmet, and iais nur ,g H j , 

Y. Salle des Colonnes, or Salle des Dieux et Monuments Divers, 
adorned with an allegorical ceiling- painting by Gros (in the centre, 
True Glory leaning upon Virtue; to the left, Mars crowned by Victory 
and restrained by Moderation; to the right, Time placing Truth 
under the protection of Wisdom). This room contains various objects 
for which a place could not be found in the preceding rooms. 

Wooden mummy-cases, covered with paintings. In the glass-cases to 
the r. and 1. of the entrance are Arabian and Greek papyri, discovered at ; 
Arsinoe. In the right corner (by the window), Statuettes of the god Be.? 
In the left corner are hawks with human heads (prototypes of the Greek 
harpy), symbolical of the soul. The case on the right wall contains farther" 
Arabian papyri, discovered at Arsinoe. In front of the 2nd window: 
hypocephali, or talismans with mythical designs, placed under the heads of 
mummies; swathing-bands, etc. To the right and ! eft of the exit are papyri 
in demotic characters. In the right corner, bronze deities. In the left 
corner, sacred emblems, sceptres, attributes of deities, in bronze. Left 
wall: classic Greek papyri. On a table in the middle is the funeral 
casket of the scribe Houi; canopic vases of painted wood. 

Collection of Antique Pottery (Musee de la Ceramique Antique). 
— This collection, the nucleus of which was the Campana Collection, 
purchased from the papal government in 1861, is one of the most 
complete of its kind and affords an admirable survey of the develop- 
ment of vase-painting among the ancients. Arranged chronologi- 
cally, the earliest specimens are in the room entered from the Salle 
des Sept-Cheminees through the door to the right (comp. Plan, p. 116). 
Explanatory catalogue of the antique figurines by L. Heuzey (1901; 
1 fr.). — The ceiling-paintings date from the middle of the 19th cent., 
when the paintings of the French School were still exhibited here. 

I. Room or Salle A. Ceiling-painting by Alaux: Poussin being pre- 
sented to Louis XIII. — Figurines in terracotta and limestone, of the earliest 
period. Central cases: Terracottas, vases, and cuneiform inscriptions. The 
other cases contain a rich collection of terracottas from Phoenicia, Carthage, 
Asia Minor, Cyprus, Crete, etc.; vases of the geometrical type, interesting 
for their primitive linear ornamentation. Then, a long series of warriors 1 
heads, from Cyprus, in the Phoenician-Greek style, interesting from their 
resemblance to archaic Greek types. 

II. Room (B). Ceiling-painting by Steuben : Battle of Ivry, with Henri IV 
as a magnanimous victor. Terracottas (ca. 5th cent. B. C.) from Myrina 
(to the N. of Smyrna), Athens, and Magna Grsecia, some of great artistic 
value. Left wall : Figurines of Greek women, some with hats, some seated, 
mostly elegant and graceful in bearing. Among the bas-reliefs are several 
vintage scenes and a *Bacchic dance. — Rear wall: Cinerary urns with 
painted reliefs. In the centre of the glass-case by the exit-wall, Two 
warriors arming, with a mother and child between them. 

III. Room (C). Ceiling-painting by Beviria: Puget presenting his marble 
group of the Milo of Croton (p. 113) to Louis XIV. — Etruscan Pottery 
of the earliest type, nearly all black; some with engraved designs; earliest 
attempts at reliefs (found in tombs). 



Antique Pottery. LOUVRE. Eight Bank d. 163 

IV. Boom (D). Ceiling-painting by Fragonard: Francis I. receiving pic- 
tures and statues brought by Primaticcio from Italy. — Greek' and Etruscan 
Antiquities found at Cervetri, tbe Csere of the ancient Etruscans, more 
especially a 'Sarcophagus, on which are two painted lifesize figures of a 
man and woman on a couch, clumsy in execution, but not without a cer- 
tain naive grace. — Left wall: in front, Athena and Hercules (painted re- 
lief); 'funeral couches 1 and reliefs representing funeral rites. — Rear wall: 
Vases with painter 1 \ #*S and geometric-" 1 ornamentation. — Exit-wall: 
Fragme' 'of a n. ■ ••«• >intii.^' representing the gods, etc., in the most 
artless fashion. " ' 

In the adjoining passage are antefixee, heads, sarcophagi, and vases. 

V. Room (E). Ceiling-painting by Eeim: The Renaissance in France. — 
Vases in the Corinthian Style, found in Greek islands and in Italy. To 
the left of the central door, Vase with the mourning for Achilles (643). 
In the glass-case on tbe same side, Jewels from the excavation? at Curium 
(Cyprus), from Phoenicia, and from Carthage. — By the central window: 
Painted sarcophagus in terracotta from Clazomense (Asia Minor), in the 
Ionian style of the 6th cent. B.C. To the left of the exit, 'Jewels (some 
^f gold) from Lydia, Sardes, ^Eolis (Myrina), Spain (Caceres), Rhodes, etc. — 

> the right of the exit, Perseus slaying the Gorgon. 
Another short passage, with archaic Greek vases and a sarcophagus 
similar to the one just described, leads to the — 

VI. Room (F). Ceiling-painting by Fragonard: Francis I. knighted by 
Bayard. — Attic Vases with Black Figures, found in Italy and Sicily. In the 
centre of the room are some bearing the name of Mcosthenes. In the small 
case in front are wine -vessels (oinochoes) signed Exekias, Theozotos, and 
Amasis. Most of the scenes are from the myths relating to Hercules and 
Theseus. The types of the gods differ greatly from tho r e of the classic 
period. In the case on the left are the oldest known representations of the 
Judgment of Paris. 

VII. Room (G). Ceiling-painting by Schnetz: Charlemagne and Alcuin, 
the founder of the university of Paris. — * Attic Vases with Red Figures, found 
in Italy, the finest in the collection, many with the name of the maker. 
In the centre, "104. Goblet with Theseus, Amphi trite, and Athena, by 
Euphro(nios) ; 159. Goblet with Briseis and Phoenix , by Brygos. In the 
middle of the rear wall, a little to the left, '228. Sphinx, with meditating 
Greeks. Bacchic scenes. The subjects of the large vases in the central case 
are: Death of the Children of Mobe (Orvieto); Apollo slaying the giant Tit- 
yos; Hercules and Antaeus; 'Mourning of Achilles. 

VIII. Room (H). Ceiling-painting by Drolling: Louis XII hailed as 
father of the people by the Estates at Tours (1506). — Vases with Reliefs, 
found in Italy. In the centre are rhyta, or goblets, in the form of horns, 
with heads and other ornaments; on each side are goblets with the makers 1 
names (Douris, Epolykos, etc.). Left wall: Arezzo ware, of purely archaeo- 
logical interest. 

IX. Room. Ceiling-painting by Lion Cogniet: Bonaparte in Egypt. — Mural 
Paintings from Herculaneum and Pompeii. To the left, on a gold ground, 
Apollo and the Muses; large frescoes: Two women and a goat; River-god 
between two Naiads. — Rear wall (left): Landscape with architecture; Sea- 
piece, both from Bosco Beale (19C0). — Beyond the door: Frescoes and 
mural decorations from Borne and Tusculum; Roman patron with his 
clients; Man and woman; Bacchus crowned with ivy. To the left of the 
exit are antiquities found in Egypt, especially at Alexandria; 'Grseco- 
Egyptian portraits on wood; 'Plaster busts (painted); Greek steles; 'Fa- 
mily of twelve persons, with names in Greek characters. — In the glass- 
cases in the centre: very interesting collection of Ancient Glass. 

The exit-door leads to the rooms containing the small Egyptian an- 
tiquities (p. 160), whence we reach the nearest, staircase to the second floor 
by re-traversing the rooms to the left (pp. 160-153). 

To conclude our inspection of the collection of pottery, we retrace 
our steps to Salle E, whence we pass through the Salle des Colonnes 
(p. 162), to the left, to the adjoining rooms on the side next the court. 

11* 



164 Right Bank 4. LOUVRE. Second Floor. 

Room M. Ceiling-painting by Picot: Cybele saving Pompeii and Hercu- 
laneum from total destruction. — Greek Pottery found in Asia Minor, the 
Crimea, Cyrenaica, Egypt; terracottas of the Hellenistic period. Vases with 
black and violet painting. In the central case: Terracotta heads from 
Tarsus in Cilicia and Smyrna ; fine head of Jupiter. The most ancient Greek 
Vases (up to about the 6th cent.) have black figures on a light red or yellow- 
ish background; those with red figures on a black ground are later. These 
vases were executed not by trained artists but by ordinary craftsmen, who, 
whether they took their subjects from mythology of from everyday life, 
endowed them with so much life and poetry, infused such expression, and 
frequently such grace into their drawings, that they testify in the most 
striking manner to the cult of the beautiful which was i o deeply implanted 
in the ancient Athenians. — The large vases are Panathenaic amphoree, 
which were given, filled with oil, to the victors in the Panathensean games 
or festivals of Athena. — On the chimneypiece : rich collection of terracottas 
with grotesque types from Smyrna; other terracottas in the cabinet by the 
right wall and at the windows. 

Room L. Ceiling-painting by Meynier: The Nymphs of Parthenope (Naples) 
arriving at the Seine. — Greek Pottery found in Greece. Admirable terra- 
cotta figurines of the 4fh cent. B.C. Wall Cabinets: Greek terracottas 
from Tanagra in Bceotia: to the right of the entrance, *Dancing Cupids; 
"Figures of women, with red hair; half-length figure of a veiled woman 
(Demeter springing from the ground). On each side of the chimneypiece, 
Athenian lecythi or perfume-vases. In the case over the fire-place, lecythi; 
'Statuette of a pedagogue (terracotta). The central octagonal glass-case 
contains an "Amphora with the contest of the gods and the giants; Tanagra 
figurines in painted terracotta (placed in tombs to accompany the departed): 
charming 'Group of girls at play (by the windows) and """Six figurines 
representing Music and Dancing (on the other side) ; in front of these are 
toys, counters, and other objects found in a child's tomb; Venus in the 
shell; Satyr with a cantharus; tablets in painted terracotta, representing 
well-known scenes, etc. 

Room K. Ceiling-painting by Heim: Jupiter delivering to Vesuvius the 
fire for the destruction of Herculaneum, Pompeii, and Stabise. — Italic Pottery, 
from Apulia, Campania, Lucanio, and Etruria (3rd cent., B.C.). Vases with 
red figures, several of large size, with scenes from celebrated myths. 

Salle de Clakao (XXXIII). Ceiling-painting after Ingres: Apotheosis 
of Homer (original, see p. 145). Small sculptures and fragments of others. 
In the left corner window, draped figure of a girl (mutilated). In the cen- 
tral case: Antique ivory carvings; Greek terracottas and wood-carvings, etc. 
Above the fire-place, Barberini ivory binding (6th cent.), with the image 
of an emperor; pyxis of carved bone (Birth of Latona's children); carved 
leaves of diptychs. 

The door of exit leads into the Salle des Sept-Cheminees (p. 160). 

C. SECOND FLOOR. 

The second floor of the Louvre, which contains the new rooms of the 
French School of the 19th Century and the Thorny- Thiiry Collection, and also 
the Naval, the Ethnographical, and the Chinese, Museums , as well as the 
Draioings, is open to the public after 11 a.m. There are two public stair- 
cases ascending to the second floor: a small one (A on the plan 
opposite, F on the plan at p. 116) from the vestibule of the Salle Orientale 
(p. 158), which is reached from the groundfloor by Hie Asiatic staircase, 
and a large one (B, G, and N on the three plans), in the Pavilion 
de ri-Iorloge, beside the Salle des Bronzes (p. 152). We ascend the small 
staircase (A). To the left, at the top, is the Naval Museum (p. 167). We 
turn to the right and then to the left to reach the rooms of the French 
School of the 19th Century. 

French School of the 19th Century. — Vestibule. On the 
staircase: Chasseriau, 121. The chaste Susannah, no numbers, Peace 



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Picture Gallery. LOUYRE. Right Bank 4. 165 

(fragment of decorative painting for the staircase of the Cour des 
Comptes, p. 298), Portrait of Pere Lacordaire. On the landing: Isabey, 
Admiral de Ruyter and Cornelius de Wit embarking ; no number, 
Chasseriau, Portrait of M. Marilhat; 2930. Cabat, Autumn evening. 
To the right of the entrance: 119. Charlet, Grenadier of the Guard. 
— Room I (Premiere Salle Romantique). On the left, 829. Th. 
Rousseau, The Yieux Dormoir of the Bas-Breau (Fontainebleau); 
Dauzats, no numbers, La Giralda, Convent of Mt. Athos; 2938. 
Daumier, Portrait of Th. Rousseau, the painter ; 251. Diaz de la Pena, 
Pyrenees; 442. De la Berge, Landscape; 551. Le Prince, Shipping 
cattle; 2945. J. Oigoux, Portrait of Ch. Fourier (see p. 219) ; 642. 
Millet, Women bathing; above, A. G. Decamps, 206. Bulldog and 
Scotch terrier, 204. Draught-horses; 45. A. Dauzats, Landscape; 
2931. Cabat, Pond at Yille-d'Avray. Left wall: *98. J. Dupre, 
Morning; PaulHuet, 412a. Sunset at Seine -Port, 413. Calm of 
morning; above, *184A. Daubigny , The pond; 627. G. Michel, 
Landscape; *2941. J. Dupre, Evening. Rear wall : 831. Th. Rousseau, 
By the river; Diaz de la Peria, 254. 'Reine Blanche' (study), 253. 
In the wood (study), 252. Study of a birch-tree ; 703. Poterlet, Dispute 
between Trissotin and Yadius (from 'Les Femmes Savantes') ; 123. 
Chintreuil, Space; 832. Rousseau , Landscape; 13A. J. H. Belloc, 
Portrait of the artist and his wife; Corot, 140. The Colosseum, 139 
(farther on), Forum Romanum (youthful works) ; 761bis. Raffet, A 
soldier (1st Republic); 2982. Robert- Fleury, Conference of Poissy 
(1561; see p. 443); 125. Chintreuil, Rain and sunshine. Right wall: 
778B. G. Ricard, Paul de Musset (brother of Alfred, p. 88); above, 
2944. Gigoux, General Dwernicki; *641. Millet, Church of Greville; 
no number, Corot, *Sunset; *830. Rousseau, Marsh in the Landes 
(Garonne); 778C. Ricard, Study of a woman; 119A. Charlet, Halt at 
the entrance to a village. — In two glass-cases in the centre, Small 
bronzes by Barye. 

Thomy-Tbiery Collection (see p. 138), bequeathed to the Louvre 
in 1903 by M. Thomy-Thiery. Rooms II and III are under re- 
storation and closed at present. The pictures are temporarily removed 
to Room I and other rooms, but will be re-installed ; we enumerate 
them in their previous order. — Room II. To the left, a series of 
pictures by Decamps, skilful in conception and wittily realistic in 
execution; among others: 2834. The rat in retirement, 2840. Ele- 
phant and tiger drinking, *2832. Bell-ringers, 2836. Beggars, 2835. 
Catalans, 2827. Street in Smyrna, *2838. Dogs' toilet, 2826. Monkey 
painting, 2831. Knife-grinder, 2841. Bertrand and Raton (a monkey 
and a cat). Beginning again from the left: 2881 (above), Isabey, The 
duel; 2843. Delacroix, The Bride of Abydos; 2908. Troyon, Sheep ; 
2858. Diaz de la Pena, Yenus and Adonis; 2913. Troyon, Goose- 
girl; 2904. Th. Rousseau. The little fisherman. —Left wall: J. Dupre, 
*2873. Oak, *2864. Pond, *2871. In the Landes, 2874 (farther 
on), Sun setting over a marsh ; Troyon, *2915. Cattle meeting sheep, 



166 Right Bank 4. LOUVRE. Second Floor: 

2912. At the ford, 2906. Cattle drinking, *2916 (farther on), Heights 
of Suresnes, 2911. Small herd, *2914. The harrier; Corot, 2806. 
Souvenir of Italy, 2812. Eclogue, *2807. The pond, *2810. Road to 
Arras (? View of Sin-le-Noble), of marvellous delicacy; 2878. Isabey, 
Wedding at the church of Delft; Delacroix, *2852. Medea, *2850. 
Abduction of Rebecca (from Ivanhoe) ; Daubigny, 2818. The sluice, 
2825. The pond; Th. Rousseau, *2900. Oaks, *2902. Village amid 
trees. — Rear wall; Rousseau, 2901. Plain in the Pyrenees, *2903. 
Spring, 2896. Banks of the Loire; Millet, 2890. Woman burning 
herbs, *2892. Binding sheaves, 2894. Maternal precaution, 2895. 
Wood-cutter; Daubigny. 2813. A corner in Normandy, 2814. The 
Marais, 2825. Banks of the Oise ; J. Dupre, *2875. Sunset after storm, 
2869. Landscape, 2868. Pasture (Normandy), 2867. The pool, 
2872. By the river; Corot, 2805. Willow-grove, 2809. Huts; Dela- 
croix, 2846. Lion and boar, 2848. Lion and rabbit; 2800. Barye, 
Lions near their den. — Right wall (returning) : Daubigny, 2817. 
Beach of Villerville , *2815 (farther on), Pool with storks, *2821 
(farther on), Thames at Erith, *2824. Morning, 2819. Boats on the 
Oise ; Fromentin, 2876. Falconry, 2877 (farther on), Riders halting ; 
Diaz de la Pena, 2859. Venus disarming Cupid, 2861. In the wood, 
etc.; Corot, *2803. Road to Sevres, 2804. Shepherds of Sorrento 
dancing, 2802. Gate of Amiens (more probably a gate at Dinan), 
2811. Evening, 2801. A dale; Meissonier, 2888. Orderlies, 2886. 
Smokers, 2885. The reader, 2889. The poet, *2887. Flautist; 
J. Dupre, 2866. Autumn, 2870 (farther on), Cows drinking, etc.; 
Delacroix, 2849. Crucifixion, 2844. Death of Ophelia, *2851 (farther 
on), Hamlet and the grave-diggers, 2847. Lion and crocodile, *2845 
(farther on), Ruggiero delivering Angelica, 2853. Lioness about to 
spring. Troyon, 2907. Chickens feeding, *2909. Morning, 2910. 
Cattle drinking; Millet, *2893. Thresher, *2891. Washing linen; 
Isabey, 2880. On the beach at Scheveningen, 2883. Procession, 28(9. 
Baptism at Le Tre'port, 2882. Visit to the chateau, 2884 (above), 
Louis XIII at the castle of Blois; 2808. Corot, The entrance to a 
village; Rousseau, 2905. Pond, 2897. Ferryman, 2898. Hill-slope; 
Daubigny, 2820. The pinnaces, 2816. Sunset, *2822. The mill of 
Gyliers. — Sculptures: in front of the window, on the right, Bust 
of M. Thomy-Thie'ry, by Desvergnes. At the end, Small bronzes by 
Barye. 

Room III [Deuxieme Salle Romantique ; French School of the 19th 
cent, continued). — On the left: 956. H. Vernet, The Barriere de 
Clichy in 1814; 286. C. Flers, Landscape; above, 879. Tournemine, 
Elephants ; 206 A. A. Dehodencq, Portrait of the artist (1848); 205a. 
Decamps, Landscape; 2943. J. Dupre, Portrait of the artist ; 443. De 
la Berge, Arrival of the diligence (Normandy) ; 2932. Cols, Women 
picking oakum; 828. Th. Rousseau, Margin of a forest; *214. Dela- 
croix, Portrait of himself ; 477. Lanoue, Pine-wood; 12A. H. Bel- 
lange and Dauzals, Napoleon I. reviewing troops (1810). — Left 



Ethnograph. Museum. LOUVRE. RigU Batik d. 167 

wall: Meissonier, 2967. The Madonna del Eaccio, 2964. A.Dumas 
the Younger; Belly, 14B. Fishermen at evening, -14. Pilgrims hound 
for Mecca; 256. Diaz de la Pena, The fairy with the pearls ; 205. 
Decamps, The caravan; 2972. Meissonier, Cavalier and young woman 
on a staircase; 779A. Riesener, Bacchante. — At the end: Huet, 
2954. Horse from Normandy, 2958. Park of St. Cloud; no numher, 
Dehodencq, Arrest of Charlotte Corday; Meissonier, 2970. Samson, 
*2957. Napoleon III. at Solferino, 2968. Ruins of the Tuileries, 
2960. Young woman singing, *2981 (farther on), Portrait of himself 
(1889), 2969. Paris (1871); no number (above), Tassaert, An un- 
fortunate family; 124. Chintreuil, Deer, and other landscapes; Cals, 
2933. Still-life, no number, Study of a woman; *2937. Daumier, 
The thieves and the donkey ; 778. Bicard, Portrait of himself; 890A. 

F. Trutat, Woman on a tiger-skin; Isabey, 2954. The bridge, 2955. 
Sea-piece, 2956. Harbour ; 845A. E. A. Servin, Well ; no number, 

G. Bastien-Leprtge, Portrait of M.Wallon. — Right wall: Meissonier, 
2963. Studies of cuirassiers and horses, 2958. Napoleon III. and his 
staff, *2959 (farther on), Waiting, 'expressive and full of sun' , 2961. 
Study for a landscape, 2977. Travellers, 2966. Venice, 2971. 
J. J! Rousseau and Mme. de Warens, no number, Landscape, *2976. 
Laundress at Antibes ; Fromentin, 307. Egyptian women on the Nile, 
*305 (farther on), Hawking in Algeria; 140. Belly, Nile scene; no 
number, Huet, Equinoctial high tide near HonfLeur; 772. Regnault, 
Portrait; 144A. Courbet, Portrait of M. Champ fleury; 120. Chasseriau, 
Tepidarium; 2936. Cals, Dejeuner atHonfleur; 286. Flers, Environs 
of Paris. 

Returning to the vestibule (through the last three rooms), we 
enter on the left the — 

Musee de Marine, a very valuable collection of objects and 
models connected with ship - building and navigation: models of 
ships and machinery, plans in relief of harbours, drawings, armour, 
and historical objects. Most of the exhibits have full descriptive 
labels. This museum is to be transferred to the Invalides (p. 303). 

The Ethnographical Museum (Musee Ethnographique), which 
occupies several glass-eases in the large saloon at the end on this 
side, is a collection of curiosities brought home by French navi- 
gators, and the spoil captured in the course of military expeditions 
in India, China, and Japan. Much better collections of the same 
kind may be seen at the Musee Guimet (p. 227) and the Trocadero 
(p. 232). At the end of the large saloon is a model of the 'Belle 
Poule', the frigate that brought home the body of Napoleon I. from 
St. Helena (p. 311). 

The Chinese Museum (to the left on leaving the Naval Mu- 
seum), which may be regarded as a continuation of the Ethnographical 
collection, is also of secondary importance, being surpassed in interest 
by the collections at the Musee Guimet (p. 227), while its porcelain 
is far inferior to that of the Collection Grandidier (p. 168). In the 



168 Right Batik 4. LOUVRE. Chalcographie. 

2nd room are objects in carved ivory, from Japan 5 in the 3rd, two 
fine Chinese pirogues. 

Leaving this room we enter a corridor containing marine draw- 
ings and (by the windows, under glass) figurines representing a 
Javanese dance and marriage. On the right is the former Salle des 
Boites, with models of French Ships of the lS-19th Centuries. — The 
staircase leads to the Salle des Bronzes Antiques (p. 152). 

Entresol next the Seine. 

Two other collections have been arranged in a kind of second 
entresol on the side next the Seine, viz. the Chalcographie and the 
Collection Grandidier. The principal entrance to these is by the 
Porte Jean-Goujon, opposite the Pavilion Denon, but there is an- 
other in that Pavilion via the Salle des Moulages (see p. 96 and 
the ground-plan; open on Tues. and Sat. afternoons only). 

The Chalcographie, in the gallery on the right as we approach, was 
founded by Louis XIV in 1660, on the model of the Calcografia at Rome. 
Engravings of most of the great Parisian and foreign works of art, in the 
provinces of painting, sculpture, and architecture, are exhibited and sold 
here. It is open daily, except Sun. and holidays, from 9 or 10 to 4 or 6 
(entrance by the Salle des Moulages, see p. 96). and contains three Ex- 
hibition Booms and a Sale Room in which are albums and detailed cata- 
logues of over 10,000 plates. Farther on are the workshops and stores (see 
also p. 48). 

The Collection Grandidier, or MusJe de V Extreme Orient, on the left, is a 
rich collection of Chinese and Japanese porcelain presented to the Louvre by 
M. Grandidier. It is open daily, except Mon., from 1 to 4 or 5. Umbrellas 
etc. must be left (no charge). Seven rooms are devoted to Chinese por- 
celain, embracing more than 6000 specimens. The three following rooms 
are ocenpied by Japanese porcelain (900 specimens) and other Japanese 
objects, including statuettes, bronze vases and sword-hilts, combs, and 
a collection of engravings of the 18th and 19th cent., in frames and on 
two radiating stands; caskets, lacquered screens, etc. 

Pavilion de La Tremoille. 

The Pavilion de La Tremoille (see Plan, p. 93), situated to the 
left of the Sts. Peres entrance (p. 93), a few paces from the Chal- 
cographie, has been occupied since 1905 by the Salle du Mastaba 
and the Galerie de Morgan. A third room is about to be opened, 
containing a reproduction of a Coptic convent of the 13th cent, and 
two chapels, from Cairo. The pavilion is open on Wed. & Sua., 
1 to 4 or 5; entrance in the Place du Carrousel, nearly opposite 
the Arc de Triomphe. 

I. Salle du Mastaba, containing the continuation of the Egyp- 
tian Antiquities (pp. 107, 160). At the entrance, Painted wooden cof- 
fins of a lady named Hunen and of an official named Nakhti, from 
Cairo. On the walls, Sepulchral statues, including those of Nakhti 
(wood) and Sepa (limestone; in the archaic style). To the right, 
under glass , *Stele of King Serpent (more, correctly King Za) of 
Abydos, of the Thinite period (ca. 3000 P.. C). On the platform 



Pavilion de La Tremoille. LOUVRE. Right Bank 4. 169 

is a reproduction of the * 'Sacrificial Chamber from the Mast aba 
(i.e. tomb) ofAkhutHotep, a functionary of the 5th dynasty, brought 
from Sakkara in 1903. This quadrangular monument of limestone 
is embellished with coloured *Reliefs of scenes in the life of the 
deceased. To the left, by the window, large sacrificial table from 
the same mastaba; B 51. Nofru receiving funeral offerings, a 
relief from the mastaba of this functionary (5th dyn.). To the right 
of the mastaba is a relief from the tomb of Tahutua, a functionary 
of the Ancient Empire. By the walls are groups of sepulchral 
statues, including No. 42 (at the end) Scribe (5th dyn.) in the same 
crouching attitude as the famous figure mentioned on p. 161. 

II. Galerie de Morgan, containing farther Antiquities from 
Susiana (pp. 105, 158). Large monuments and miscellaneous ob- 
jects brought from ancient Susiana by M. de Morgan, leader of the 
mission to Persia (1897-1905), mostly dating from a period an- 
terior to the rule of the Medes and Persians. Above the entrance, 
large Persian inscription of Artaxerxes II. Case to the right : Steles 
and inscribed tiles, containing the earliest texts relating to the 
history of Elam, in vertical columns. On the wall to the right: 
*Large Relief of Chosroes II., depicting that monarch hunting (6th 
cent. B. 0.). In front, votive bronze columns (more probably the 
barriers of a sanctuary), with Anzanite inscriptions of King Shil- 
khak-in-Shushinak. Table-Cases on this side: Bronze canephorce 
and stone tablets of King Dungi, from the temple of Shushinak ; 
Chaldaeo-Elamite *Seals and cylinders of the Old and New Empires. 
— Cases by the left wall : Tiles, ornamental hilts, knobs of sceptres, 
chatter granted by Kassite kings, enamelled stoneware, horns in 
alabaster. Table-Case: Fragments of very ancient vases and bronze 
objects from the excavations at Tepeh-Mukian, near Susa. Cases 
by the left wall : Elamite and Achsemenian alabaster vases (with 
trilingual or quadrilingual inscriptions) and other objects; pottery 
of the Graco-Persian and Arab periods. The last case on the left 
contains weapons and ornaments in bronze and iron, necklaces of 
glass, etc., from the necropoles of Talishe and Ghilan. In front of 
these cases: Statue of King Manishtusu ; bronze lion of the Ach- 
semenian period; lozenge-shaped stone *Tablet, embellished with 
a lion's head and bearing an early Anzanite inscription and two 
systems of writing; knuckle -bone in bronze, offered to Apollo 
Didymaeus by Aristagoras (according to the inscription) and brought 
to Susa by Xerxes ; archaic lion ; bronze table bordered by two 
serpents. On the end-wall: Continuation of the above-mentioned 
Relief of Chosroes II. ; above, Map of Elam. — On the window-side, 
as we return : Bronze sarcophagus in which the Achcemenian jewelry 
mentioned on p. 158 was found; fountain-basin of Idalu Shushinak, 
patesi of Susa, a bronze relief (known as the Warriors' Relief), 
with an Anzanite inscription ; stele of victory, showing the enemies 
of the king taken in a net; stele of Sargon the Elder; rests for the 



170 Right Bcrnh 4. LOUVRE. Pavilion 

hinges of a door, with important inscriptions. Under glass, Bronze 
votive offering of King Shilkhak-in-Skushinak. Table Gases by 
the 3rd window: * Articles deposited beneath the foundations of 
the temple of Shushinak (maces, stone are, bronze and silver 
rings, etc.). The adjoining table-cases chiefly contain tablets with 
accounts. By the last window: *Brick column from the temple of 
Shushinak, with the name of King Shutruk Nankhunte. In the 
centre as we return: *Stele of Naram-Sin, with reliefs showing 
the king in pursuit of his vanquished foes. *Stele of Hammurabi, 
on which is engraved, in a Semitic language, the civil code of the 
Chaldeeans, the most ancient code of laws known (ca. 2000 B. 0.). 
At the top is a relief showing the god Shamash handing to the king 
the style with which to write the laws dictated to him. *Obelisk of 
King Manishtusu (p. 169), inscribed with a title-deed; lion in ena- 
melled terracotta; bronze *Statue of Queen Napir-Asu (head want- 
ing), a work of the 14th cent. B. C. In this room are also several 
'Kudurus', or land-marks, large egg-shaped stones inscribed with 
title-deeds and divine emblems (comp. p. 206). — On the walls and 
by the windows are views of sites and ruins in Persia, by G. Bon- 
doux, who accompanied M. de Morgan. 

Pavilion de Marsan. 

The ''"Museum of Decorative Art (Musee des Arts Decoratifs ; 
PI. R, 18, 17, II) occupies the groundfloor and two other stories of 
the Pavilion de Marsan (see Plan, p. 93), which was originally built 
by Lefuel (p. 93) for the Cour des Comptes, but has been ingeniously 
adapted to its present purpose by M. Gaston Redon } the present 
architect of the Louvre. Entrance Rue de Rivoli 107, opposite the 
Rue de l'Echelle. The museum is open daily from 10 to 5 (10-4 in 
winter); adm. 1 fr., Sun. free, other holidays 50 c. Lift, near the 
Escalier de Marsan (PI. D), 10 c. Catalogue (1906), 50 c. — This 
collection embraces specimens of European and Oriental decorative 
art from the Gothic period to the present day, and a number of 
paintings also are temporarily exhibited here (p. 171). Changes in 
the arrangement of the exhibits are not infrequent. 

The Bibliotheque des Arts De'coratifs, on the groandfloor, is open daily, 
except Sun. and holidays, 10-5.30 and. 8-10 p.m. Closed Aug. lst-20th. 

Ground Floor. — Central Vestibule (or Guichet de l'Echelle). 
Large Sevres vases ; models of groups by Carrier - Belleuse at the 
Opera House, etc. To the right are the entrance to the museum 
(where sticks and umbrellas are left; no charge) and the library. ■ — ■ 
Vestibule on the Eight. To the right is the Escalier Lefuel (PI. C), 
ascending to the first floor only, and immediately to the left of the 
vestibuleTs the Escalier de la Bibliotheque (PI. B), for all the floors. 
— We now enter the Grand Hall Central straight in front, a 
handsome saloon, used for temporary exhibitions. — To the right is — 

Room 110. Souvenirs of Napoleon I. — Room 112. Furniture 



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A. = Hsculi&r cLe Rohan ( cutrnzriistrcctLo-n, > 

B = „ de- la. IBrbUotheazLe' 

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rave et lnxprrme par ~Vra.exi.ei- Sc "Debes .Leipzig 



de Marsan. LOUVRE. Eight Bank 4. 171 

and faflspf the time of tLc Empire and the Restoration. — Rooms 114 
& 116. Furniture, panels (by Galland), bindings, etc., of the 
Restoration period. — Rooms 118 & 120. Foreign and French (R. 120) 
pottery. — Koom 122 (beyond the landing of the Escalier de Marsan, 
see p. 170). Period of the Second Empire and end of the 19th 
century. Beauvais tapestry (La Fontaine's Fables). Panels: Lawn- 
tennis, by Roger Jourdain; Industry, by Ehrmann. Sketches by the 
sculptor Carpeaux ; works by Constant Sevin. — Room 124. Stained- 
glass after Qrasstt; fayence by Rousseau, Deck, andMme. Ad. Moreau 
(ca. 1^80-1890). — Room 126 (Salle de Sevres). *Porcelain, stone- 
ware, etc., from Sevres (ca. 1852-1900); works by Galle. On the 
left and right, doors after Scdille and Cheret. At the end is a bal- 
cony over the Hall, and to the right and left are panels by Deck, on a 
gold ground, after Ehrmann; then, Flora, and The laughing woman 
in biscuit porcelain, after Carpeaux. 

Room 123 or Grand Salon Moderne (right), after G. Eoentschel. 
To the left, Small bronzes by Fremiti. To the right, The happy 
isle, a large panel by A. Besnard. In the centre, towards the end, 
"•''Gold goblet with transparent enamels, by Falize. Statuettes (by 
Barrios, Deloye, etc.), stoneware (by Carries, Delaherche, etc.); 
porcelain flamme (by Chaplei), enamels (by Thesmar, Grandhomme, 
etc.). Furniture by Madeleine, Dumas, De Feure, Majore.lle, etc. 
Panels to be placed over doors, by Aman-Jean, Henri Martin, 
Besnard, etc. — We ascend the Escalier de la Bibliotheque (PL B) 
to the — 

First Floor. Room 206 A (or Balcon de la Galerie de Pierre, 
with view of the Hall). Glass and lace. — Room 206 B (or Galerie de 
Pierre, to the right of the preceding). French Gothic art; Madonnas 
and s aints (14-1 6th cent.) ; *Lectern in the form of an eagle (1 5th cent). 
On the landing No. 204 (to the left of 206 B) is the entrance to 
the rooms containing the * Collection Moreau-Nelaion, consisting of 
189 pictures or drawings of the modern French school, presented 
in 1906 by M. Etienne Moreau-Nelaton. Illustrated catalogue (1907) 
2fr. 

Boom I. Works by Corot, Manet (to Ike left, 72. Bullfinches), Fantin- 
Latour (to the rigkt, : '66. Homage to Delacroix), and Sisley. — Room II. 
Works by Pissarro, Monet (to tke left, 77. View in Holland), Carriere (to 
the left, *2. Intimacy), Corot (to the right, 9. Bridge of Narni, 18. Volierra), 
and Manet (to the right, *71. Picnic). — Gallery. To the left: Corot, 19. 
Volttrra, 28. LaRochelle; *53. Delacroix, Still-life-, 89. Puvis de Chavannes, 
The dream; fc2. Monet, Bridge of Argenteuil; 90. Ricard, Woman's head. 
At the end, to the left: Decamps, 49. Crossing the ford, *50. Turkish school; 
Delacroix, *57. The prisoner of Chillon, *62. Taking of Constantinople by 
the Crusaders (seep. 147); 99. Troyon, Crossing the ford; 69- Gericaul't, 
Raft of the Medusa (study; see p. 150). At the end, to the right: Corot, 
*39. Velleda, 38. Church of Marissel, *14. Cathedral of Chavtres, *40. Bridge 
of 31 antes. 

Off the landing of the Escalier de Rohan (PI. A 254; see p. 172) open 
two more rooms of the Moreau-Nelaton collection, containing drawings 
and water-colours. 

From landing No. 204 we return to the Galerie de Pierre. — 



172 Eight Banlc l. LOUVRE. 

Rooms 201-207. Continuation of French Gothic art. Tapestries, 
religious sculptures, etc., of the 13-15th centuries. — We cross the 
Balcon and the Galerie de Pierre (p. 171) diagonally. — Room 208. 
Tapestries, embroideries, stalls, etc., of the French Renaissance. — 
We return to the Galerie de Pierre and pass to the right into — 

Rooms 212-226. Tapestries, wood-carvings (those from Rouen, 
in R. 220. the most worthy of note), religious sculptures, etc., of 
the French Renaissance. — Room 230 (beyond the landing of the 
Escalier de Marsan, PI. D). Period of Louis XIII and Louis XIV: 
tapestries, fragments of buildings, paintings, etc. — Room 232. Period 
of Lonis XIV: Gobelins tapestry. — Room 234 or Grande Salle 
Louts XIV: Gobelins tapestry; woodwork from Versailles; *Oaskets 
in stamped leather; fayence from Moustiers, etc. — Rooms 221-213. 
Period of the Regency and of Lonis XV: Gobelins tapestry; portraits 
by Oudry, Largillihre, Van Loo, and others; three panels "by Lancret; 
porcelain from St. Cloud (R. 221), etc.; bed exhibiting the arms 
of the Rohans, and fayence from Rouen (R. 219); Chinese scenes by 
Boucher (R. 217), — Room 211. Doistau Collection (17-18th cent.). 

— Room 209. English pottery of the 18th cent.; English engrav- 
ings. — The Escalier de la Bibliotheque (PL B) ascends to the 
next floor. 

Entresol above the First Floor. — Rooms 259-267. Period of 
LouisXV I: Paintings DyBot'Ky, Hubert '. Robert, and others ; 'Directoire' 
bed (R. 259); wood- carvings from Versailles; bronze figures of 
children by Thomire (R. 261)j curious clock commemorating the in- 
vention of balloons (R. 261); gold and other ornaments from Nor- 
mandy (261); soft porcelain from Sevres, Mennecy, Chantilly, etc. 
(R, 265); -'Collection of mustard-pots of the 18th cent. (R. 267). — 
Room 269. *lronwork (Le Secq des Tournelles Collection) : shop- 
signs (17-18th cent,; including that of the 'Homme Arme'', p. 185), 
railings, caskets, knockers, ornaments, keys, bonbonnicres, handles 
of walking-sticks, etc. — We cross the corridor (RR. 276-274) and 
turn to the light. — Rooms 272-262, Textile fabrics (15- 19th cent.). 

— Room 260. Spanish Renaissance: chests, embroideries, Spanish- 
Mauresque plaques. — Room 258. Spanish Gothic art. Altar-pieces 
(12-15th cent.); chased bolt-heads. — Room 256 ("with balcony). 
German art. Religious sculptures; furniture; paintings of the 15-lGth 
centuries. — From the landing of the Escalier de Rohan (Salles 
Moreau-NeTaton, see p. 171) we proceed by the balcony on the left 
and enter Rooms 251-257. Italian art: tapestries, furniture, altar- 
screens, bronzes, etc. of the 14-16th centuries. — The — 

Second Floor, oi Grand-Comble, destined for the works of ancient 
art of foreign countries and for the Oriental collections, is not yet 
open to the public. 

We descend to the exit by the Escalier de la Bibliotheque (p. 170). 



173 



5. From the Louvre to the Place de la Bastille. 

Mktroi'Olitain Stations (Line 1), see Appx., pp. 29, 30. — Restaur- 
ants in this part of Paris, see p. 20. 

The E. part of the Rue de Rivoli (p. 90), beyond the Rue du 
Louvre, traversing a congeries of narrow streets, was constructed by 
Napoleon III., who desired to facilitate the access of his troops to 
the Hotel de Ville. It intersects the Rue du Pont-Neuf, leading from 
the bridge of that name to the Halle s Centrales (p. 194), then the 
Rue des Ilalles and the Rue St. Denis, and, finally, the Boulevard de 
Sebastopol (p. 84). — The Station du Chdtelet on the Metropolitain 
is at the corner of the Rue des Lavandicres (sec Appx., p. 29). 

At No. 144, at the corner of the Rue de l'Arbre-Sec (PI. R, 20; III), an 
inscription records that the TI6tel de Montbazon, where Admiral de Coligny 
was killed (see p. 90), once stood there. Here alo lived C. Van Loo, the 
painter, and the Duchess of Montbazon, mistress of Ranee (d. 1700), who 
retired at the death of the duchess and reformed the Order of the Trappists. 

In the square at the S.E. corner of the Rue de Rivoli and the 
Boulevard de Sebastopol rises the *Tour St. Jacques (PI. K, 23 ; ///, 
IV\ a handsome square Gothic tower, 175 ft. in height, erected in 
1508-22, and now under restoration. This is a relic of the church 
of St. Jacques -la- Boucherie, which was built in 1508-22 on the 
site of an earlier church, and sold and taken down in 1789. The 
church was a place of refuge for criminals. The tower is now used 
as an observatory. In the hall on the groundfloor is a statue (by Cave- 
lier) of the philosopher Pascal (1623-62), who is said to have 
repeated from the summit of this tower (or, according to other author- 
ities, from the tower of St. Jacques-du-Haut-Pas, p. 330) his ex- 
periments with regard to atmospheric pressure. On the summit are a 
statue of St. James the Great and the symbols of the Evangelists (re- 
plicas ; originals at the Thermes de Oluny, p. 280). The * View from the 
Tour St. Jacques is one of the finest in Paris, as the tower occupies a 
very central position, but the public are not allowed to ascend except 
with a permit obtained gratis at the Hotel de Ville (daily 11-5). A 
fee to one of the keepers of the square will, however, usually secure 
admission (preferably between 12 and 3). The spiral staircase has 
291 steps. — The Square de la Tour-St-Jacques is embellished 
with bronze sculptures of the Breadbearer, 'Ducks and Drakes' ('Le 
Ricochet'), and Cyparissus, by Coutan, Vital Cornu, and H. Pie. 

The Squares of Paris, like the great majority of the other promenades 
of the city, are both useful and ornamental. Though they have been con- 
structed on the model of the London squares, the enjoyment of the gardens 
with which they are laid out is by no means confined to a few privileged 
individuals, but is free to all-comers. The formation of squares of this sort 
has been a prominent feature of the modern street improvements of Paris. 

In the Rue St. Martin, a little to the N.E. of the Tour St. Jacques, rises 
the church of St. Merry (PI. R, 23; ///), formerly St. M&cMric, in the best 
Gothic style, although dating from 1520-1612. It possesses a beautiful though 
unfinished portal in the Flamboyant style. The interior was disfigured in 
a pseudo-classical style by Boffrcmd (18th cent.), who was also the architect 
of the large chapel on the right. Among the most noteworthy contents 



174 Right Bank 5. PLACE DU CHATELET. From the Louvre 

are a large marble crucifix, by P. Dubois, at tbe bigh-altar ; two good pictures 
by C. Van Loo (d. 1765) at the entrance to the choir (to the left, San Carlo 
Borromeo); the decorations of the Lady Chapel by Collin de Vermont; a 
painting of the Disciples at Emmaus, by Coypel, in the Chapel of the 
Sacrament; and one of St. Genevieve keeping her sheep (attributed to the 
Italian School of the 16th cent.) , in the 5th chapel (on the S.). The 
chapels of the ambulatory are adorned with fine frescoes by Cornu, Leh- 
mann* Amaury- Duval, Chassiriau , Ltpaulle, Matout, Glaize, Lafon, and 
others, which, however, are very badly lighted. — The fine stained-glass 
windows of the choir date from the 16th century. — In the crypt is a 
shrine containing the remains of St. Mederic. During the Revolution this 
church was the Temple of Commerce. 

The street at the back is the old Rue du Cloitre-St-Merry, off which 
run the picturesque Rue Taillepain and Rue Brisemiche (PL R, 23 ; III), named 
doubtless from a bakehouse belonging to the chapter of St. Merry. The 
Rue de Venise, which intersects the Hue St. Martin farther on, is one of the 
oldest and narrowest in Paris. It was once the Ruelle des Usuriers and 
still retains its cut-throat aspect of the 14-15th century; it abounds in low 
drinking-shops. At No. 27 (entrance, Rue Quincampoix 54) is the ancient 
tavern of the Epe'e-de-Bois, which was frequented by Marivaux and Louis 
Racine. The Rue Quincampoix, which crosses this street, is also of great 
age. Law's Bank, notorious for its fantastic speculations, flourished here 
in 1718-20. At its S. end is the Rue des Lombards, which, like its London 
namesake, owes its title to the Lombard money-lenders who were there 
established. It claims to be the birthplace of Boccaccio (1313). — The 
Rue des Lombards leads into the Rue St. Martin (PL R, 23, 24; III), which 
was once the great Roman road between Paris and the northern provinces. 
The Fontaine Maubuie, at ISTo. 122, mentioned as early as 1392, was restored 
in 1734. The curious sign of the Cloche d'Or should be noticed at No. 193. 
— The other streets in this quarter all contain picturesque or historic houses. 

The Boulevard de Sevastopol terminates on the S. in the — 
Place du Chatelet (PL R, 20, 23 ; 7) , the site of which was 
occupied till 1802 by the notorious Prison du Grand-Chdtelet , the 
plan of which may he seen on the left side of the facade of the 
Chambre des Notaires. The Fontaine de la Victoire and the Colonne 
du Palmier, with its bronze cordons, were erected here in 1807. The 
names of fifteen battles won by Napoleon I. are inscribed above. On 
the summit is a gilded statue of Victory, holding a wreath in each 
hand, and below are four figures representing Fidelity, Vigilance, Law, 
and Power, by Boizot. The monument was removed to its present 
position in 1858; the pedestal with its double basin adorned with 
four sphinxes was added on that occasion. It was restored in 1S99 1 
1900. — On the right and left of the Place du Chatelet are situated 
the Theatre du Chatelet (p. 40) and the Theatre Sarah Bernhardt 
(p. 39) respectively, both designed by Davioud. The former build- 
ing occupies the site of the house where the painter Da^id was born 
in 1748 (inscription). The square is bounded on the S. by tbe Seine, 
which here flows under the Pont au Change (p. 260). 

In the building occupied by the Assistance Publique (PL R, 23; I 7 ), a 
public establishment for the relief of the poor, in the Avenue Victoria, it 
is proposed to found a Museum of Hygiene, together with a Muse'e de V As- 
sistance Publique, in which the specimens of fayence, pictures, etc., now 
scattered in the various branches of this institution, would be collected. 

From the Place du Chatelet the broad Avenue Victoria extends 
on the E. to the — 



to the Bastille. HOTEL DE VILLE. Right Bank o. 175 

Place de l'Hdtel-de-Ville (PI. R, 23; V), once named Place de 
Oreve ('bank of the river'), a name that evokes many a tragic re- 
collection. Public executions took place here from 1310 to 1832. 
In 1572, after the massacre of St. Bartholomew, Catherine de Medicis 
caused the Huguenot chiefs Briquemont and Cavagnes to be hung in 
this Place amid the jeers of an enraged mob; and in 1574 she 
ordered the Comte Montgomery, captain of the Scottish guard, to be 
executed here for having accidentally caused the death of her hus- 
band Henri II at a tournament (p. 191). On this spot, too, Eleonore 
Galigai, foster-sister of Marie de Medicis, convicted of sorcery, was 
beheaded and afterwards burnt in 1617. In 1766 the Comte de Lally- 
Tollendal, governor of the French Indies, unjustly condemned for 
treason, suffered the extreme penalty; he was followed, in 1798, by 
Foulon, general comptroller of finance, and the latter 1 s son-in-law 
Bertier, both hanged by the mob on the lamp-posts of this Place. 
Among famous criminals who have here paid the penalty of their mis- 
deeds are Ravaillac, the assassin of Henri IV (1610), the Marquise 
de Brinvilliers and 'La Yoisin', the poisoners (1676 and 1682), Car- 
touche, the highwayman (1721), and Damiens, who attempted to 
assassinate Louis XV (1757). — The Place de l'Hotel-de-Yille is 
connected on the S. with the Cite (p. 259) by the Pont d'Arcole. 

The *H6tel de Ville (PI. It, 23 ; 7) was rebuilt in its original 
form, but on an enlarged and more ornamental plan, by Ballu and 
Deperihes in 1876-84. It is a magnificent structure in the French 
Renaissance style , with dome - covered pavilions at the angles 
(recalling the mediaeval towers), mansard windows, and lofty de- 
corated chimneys. The building is entirely detached and is sur- 
rounded by an area with a railing, affording light to the sunk floor. 
The groundfloor is adorned with pilasters, and the first floor with 
engaged pillars of the composite order. Above the first floor is a 
kind of entresol , while the pavilions have an extra story. The 
construction of the old Hotel de Yille was begun in 1533, probably 
on the plans of the Italian Domenico da Cortona, surnamed 11 Boc- 
cador, under the direction of Pierre Chambiges ; subsequent additions 
quadrupled its extent. The Hotel de Yille is the headquarters of the 
municipal government of Paris, controlling the 'marries' of the twenty 
arondissements or wards. At the head is the Prefect of the Seine, who 
up to 1789 bore the title of Prevot (provost) de Paris or des Marchands. 

The Hotel de Ville has played a conspicuous part in the different re- 
volutions, having been the usual rallying-place of the democratic party, 
as opposed to the court-party, whose centres were the Louvre and the 
Tuileries*, and it was within its walls that the Tiers Etat developed its power. 
On 14th July, 1789, the captors of the Bastille were conducted in triumph 
into the great hall. Three days later Louis XVI came in procession 
from Versailles to the Hotel de Ville under the protection of the mayor 
Bailly and other popular deputies, accompanied by a dense mob, whom 
he succeeded in calming only by showing himself at the window wearing 
the tri-coloured cockade, which Lafayette is said to have composed, the 
blue and red standing for the City of Paris and the white for the Bourbons. 
On 27th July, 1794 (9th Thermidor), when the Commune, the tool employed 



176 Bight Batik 5. H6TEL DE VILLE, FVom the Louvrt 

by Robespierre againsl the Convention, was holding cue of its meetings 

here, Barras with five battalions forced his entrance in the name of the 
Convention, and Robespierre had his jaw shattered by a pistol-shot. 
Here was also celebrated the union o( the July Monarchy with the bour- 
geoisie, when Louis Philippe presented himself at one of the windows, in 
August, 1830, and in view of the populace embraced Lafayette. From the 
steps o( the Hotel de Ville, on 24th Feb., ISIS. Louis Plane proclaimed 
the institution of the republic. From 4th Sept., 1870. to OSth Feb., 1871, 
the Hotel de Ville was the seat of the 'gonvernement de la defense nationale", 
and until the end of May, that of the Communards and their 'comite du 
saint public'. The Communards prepared heaps of combustibles inside the 
building:, and when forced to retire thither after the fearful Btruggle of 
24th May in the Place de l'llotel-de- Ville they set tire to them, regardless 
Of the fact that 600 Of their party were still within its precincts. Not 
one escaped, and the entire building perished in the flames. 

The *Main Faoape is divided into three approximately equal 
part!?. That in the centre, projecting beyond the others, has three 
entrances, two of which are carriage-archways with pavilions. In 
front of the third are bronze statues of Science, by Blanchard. and 
Art, by Marqueste. In the niches of the principal stories (and also 
on all the pavilions] are statues of celebrated men, while on the 
cornices are figures representing the towns of France, etc. The 
facade is farther adorned with a handsome clock surrounded with 
seven statues, a campanile, and [on the roof) ten gilded figures of 
heralds. Including a few statues in the courts, there are about '200 
statues and groups on the exterior of the Hotel. 

The other facades also are worthy of inspection. The small 
garden on the side next the Seine contains a bronze Equestrian 
Statue of Etienne Marcel (p. xv), by Idrac and Marqueste. The 
entrances on the rear are guarded by bronze lions, by Gain and 
Jacqunnart. 

Visitors may at all times walk through the Hotel de Ville and 
inspect the handsome courts. 

The tasteful decoration of the ^Interior affords, perhaps, an 
even better opportunity of appreciating modern French art than do 
the works in the Luxembourg collection (p. 315). 

Tickets to view the interior are obtained gratis between 2 and 4 p.m. 
in the secretary's Office, in the IN. court (to the left as we approach from 
the Place), staircase D (.to the left), first floor above the entresol. Visitors 
then proceed to the Salle des Trevots. to the right of the archway, where 
they are met by an official who escorts them over the building p/ahr.; fee). 

The ground-floor is occupied by public offices. — We first enter 
a gallery commanding a view of the court, and of the 'Gloria Victis', 
a bronze group by Mercie. At the back is the large Salle St. Jean 
(not shown), for large meetings. — Two handsome marble staircases 
ascend to the first floor. In the cupola of the N. staircase is the 
Republican Calendar (p. xix\ by J. Blanc. 

The Galleries and the Sattcs des Fetes } on the first floor, are de- 
corated on the ceilings and walls with paintings by modern artists. 
The Vestibules and Corridors at the top of the staircases are painted 
with landscapes and views of Paris and its environs. — Between the 
corridors is the Salon des Cariatides, with paintings by Carolus- 



to the Bdstille. H6TEL DP] VILLE. Right Bank 5. 177 

Duran and a large vase, 10ft. high, of red and green jasper from the 
Ural Mts., presented by the Czar Alexander III. of Russia in mem- 
ory of the reception of Russian naval officers and seamen at Paris 
in 1893, — The Salon d 1 Arrive e Nord contains a large painting by 
Roll, representing the Pleasures of Life. This room has a fine cas- 
setted ceiling, like all the other rooms that have not ceiling-paint- 
ings. The Salon a" Introduction Nord has ceiling-paintings by Bonis 
(Nature as educator, Physical Exercises, Study and Philosophy), 
while the Portique Nord is painted by F. Barrias, and contains two 
marble figures (Horace and Lesbia) by Quillawme. 

Then follows the main hall, or Grande Salle des Fetes, 164 ft. 
long, 42 ft. wide, and 42 ft. high. On the side of this hall next 
the Place Lobau is a gallery, above which is another smaller gal- 
lery, continued also on the remaining three sides. 

CaiLiKG Paintings: Progress of Music, by Gervex; Perlume, by 0. Fer- 
rier; Pari3 inviting the world to her f.;tes, by Benj. Constant; Flowers, 
by 0. Ferrier; Progress of Dancing, by A. Morot. Above the doors are re- 
presentations of the old provinces of France (names inscribed above), by 
Weerls, F. Humbert, Ehrmann, and P. Milliet. — The sculptures, especially 
the caryatides and the groups in high-relief, by various artisls, should be 
noted. — In the panels of tbe eide-gallery (Galerie Lobau) are paintings 
(scenes from the history of Paris, festivals, etc.), by Picard (Fete of 14th 
July, on tbe left)), Clairin, C'azin, Berteaux, Baudouin, Delahaye, and Blan- 
chon, and the small cupolas contain interesting frescoes by Picard and Bisler. 

At the other end of the Salle are the Portique Sud, decorated by 
//. Levy (Hours of the Night and Hay), and the Salon d' Introduction 
Sud , decorated by Henri Martin (Apollo and the Muses , on the 
ceiling; Music, Sculpture, Painting, Poetry, on the frieze). — We 
now enter the Salle a Manger de Reception , which has three fine 
ceiling-paintings by Georges Berlrand representing the Hymn of the 
Earth to the Sun; at the sides, Agriculture, Harvest, Vintage; and 
six marble statues: Hunting, by E. Barrias; the Toast, by Idrac ; 
Fishing, by Falguiere; "Wine, by A. Crauk ; Song, by Dalou; and 
Harvest, by Chapu. The beautiful marquetry should not be over- 
looked. — At the angle of the side next the Seine is the Salon Lobau 
or Salon Historique, with paintings by J. P. Laurens: Louis VI 
(le Gros) granting the first charter of Paris; Etienne Marcel pro- 
tecting the Dauphin; Repression of the revolt of the Maillotins 
(1383); Anne Dubourg protesting in Parliament before Henri H 
against the oppression of the Huguenots (1559); Arrest of Broussel 
(1648); Pache, Mayor of Paris in 1793; La Reynie (1625-1709), 
lieutenant of police under Louis XIV; Turgot quitting the ministry 
at Versailles; Louis XVI at the Hotel de Ville (see p. 175 ; 1789), 
a composition known as the 'arch of steel'. 

In the S. wing, next the Seine, are three large rooms (* Salons 
des Sciences, des Arts, and des Lettres); four small rooms (Salons di 
Passage), two at each end; and the Galerie de la four du Sad, the 
farther end of which adjoins the Escalier d'Honneur. The custodian 
does not always show them all. 

Babdekeb, Paris. 10th Edit. 12 



178 Eight Bank 5. HOTEL DE VILLE. From the Louvre 

Premier Salon de Passage : Louis XI entering Paris (1461), by Tattegrain. 

— Salon des Sciences. Paintings. On the ceiling : Apotheosis of the Sciences, 
Meteorology, and Electricity, by Besnard; two friezes by Lerolle, Science en 
lightens, Science leads to fame-, twelve corner-pieces by Carriere, symboliz- 
ing the Sciences; above the doors, Physics, Botany, by Duez; eight panels 
on which are the Elements, by Jeanniot, Rixens, Buland, and A. Berton, 
and Views of Paris, by P. Vauthier, L. Loir, Lupine, and E. Barau. Sculp- 
tures, notably the chimneypiece, by J. P. Cavelier. — Salon des Arts. 
Paintings. On the ceiling: Glorification of Art, Truth, and the Ideal, by 
Bonnat; friezes, Music and Dancing, Material and Intellectual life, by 
L.Glaize; corner-pieces by Chartran; four medallions by Rivey; on the 
panels, Painting by Dagnan-B outer et, Music by Ranvier, Sculpture by Layraud, 
Architecture by T. Robert- Fleury, and Views of Paris, by Frangais, Bellel, 
G. Collin, and Lapostolet. — Salon des Lettees, Paintings. On the ceiling: 
the Muses of Paris, Meditation, Inspiration, by J. Lefebvre; History of 
Writing, two friezes by Cormon; twelve corner-pieces by Maignan, re- 
presenting the Great Works of Literature; four medallions by Mile. Forget; 
above the doors, Philosophy freeing Thought, History gathering the 
lessons of the Past, by V. Bourgeois; on the panels, Eloquence, by H. 
Leroux, Poetry, by R. Collin, History, by E. Thirion, Philosophy, by Callot, 
and Views of Paris and the environs, by Berthelon, Guillemet, H. Saintin, 
and Lansyer. Sculptures by G. J. Thomas, notably the chimneypiece. — 
Galerie de la Cour do Sod. Sixteen small cupolas with paintings of 
Trades (inscriptions'), by Galland. The pillars bear the arms of French towns. 

— Passage Sud. The Tuileries Garden, by Montenard (1906). — Escalier 
d'Honneur, see below. 

The Salon d'Arrlvee Sud, through which we pass to the great 
S. staircase and the exit, contains two huge paintings by Puvis de 
Chavannes (Summer and Winter). 

In the centre of the W. wing (next to the Place de THotel-de-Villel, 
on the first floor, is the Salle du Conseil Municipal, to which the public are 
admitted during the council-meetings, on Mon., Wed., and Frid. at 3 p.m. 

— The "Escalier d'Honneur, or Grand Staircase, is not shown to ordinary 
visitors, but may be seen. by those present at fetes or having business in 
the Cabinet du PreTet, in the angle of the facade next the Seine. Sculptures : 
on the groundfloor, Mounted torch-bearer,' bronze by Fr&miet; Monument 
of Ballu, the architect (bronze), by E. Barrias and Coutan; Justice and 
Security, by Mercie" and Delaplanche; on the first floor, Art and Commerce, 
by the same, Literature and Education, by Schoenewerlc, Sciences and Public 
Benevolence, by M. Moreau, etc. Paintings by Puvis de Chavannes: Victor 
Hugo dedicating his lyre to Paris; in the spandrels, Virtues. 

Salle du Budget (on the 2nd floor; shown when the council is not 
sitting). On the right, Return of the troops from Poland after the cam- 
paign of 1803-7; on the left, Enrolment of Volunteers in 1792; on the 
ceiling, Charge of Cuiras3iers under the Republic, all by Detaille. 

In the Place Lobau (PL R, 23 ; V) , at the back of the Hotel de 
Ville, are two large barracks, built by Napoleon III. ; those on the 
S. side are now used as offices for the board of education. On the 
N. side is the Hotel- de-Ville Station of the Metro (Appx., p. 29). 

The church of St. Gervais (PL R, 23; V), or St. Gervais et St. 
Protais , which stands at the end of the Place between the two 
barracks, was begun in 1212, but was completely remodelled in the 
16th cent. 5 it now presents a combination of the Flamboyant and 
Renaissance styles. The portal was added by Debrosse in 1616, 
and, though inharmonious with the rest, is not without interest ; it 
illustrates the Doric, Ionic, and Corinthian orders, one above the 
other, together with triangular and semicircular pediments. 



to the Bastille. ST. GERYAIS. Bight Bank 5. 179 

The Interior is remarkable for its height. St. Gervais is rich in 
paintings and other works of art, most of which are, however, as is usual in 
the churches of Paris, very badly lighted. The names of the various chapels 
are sufficiently explanatory of the subjects of their mural paintings. Chapels 
on the S. side : 3rd, Frescoes by Joob&Duval; 4th, by Gendron; 5th (opposite 
the altar), Painting by Couder (St. Ambrose and Theodosius) ; 6th and 7th (am- 
bulatory), stained glass of the 16th cent.; 8th, Frescoes by Glaize; 9th, Mau- 
soleum of Michel Le Tellier (d. 1685), minister of state under Louis XIV, 
by Mazeline and Hurtrelle, frescoes by Al. Hesse (SS. Gervais andProtais), and 
(on the altar) a statue of the Virgin (14th cent.)- The clerestory of the choir 
and the Lady Chapel have stained-glass windows by /. Cousin (16th cent.), 
paintings by Delorme, and a Madonna by Oudini. The vault with coronal 
and pendentive (4 ft. by 6V2 ft.) is by Jacquet (1517). Chapels to the N. 
as we return : 1st and 2nd, Pieta by Nanteuil and Corlot, paintings by Norblin 
and Guichard; 3rd, a Passion painted on wood, attributed to Aldegrever; 
4th, Reredos (15th cent.); 5th, Reredos and altar (with relief), 16th cent.; 
7th, Reredos reproducing the facade of the church (17th cent.). — Above 
the stalls of the clergy is a medallion of God the Father, by Perugino, 
belonging to an altar-piece of the Ascension (the chief panel of which is at 
Lyons). The candelabra and bronze crucifix on the high-altar (18th cent.) 
were brought from the abbey of Ste. Genevieve. The choir-stalls (16th cent.) 
have fine misericordige. Organ of the 17th cent., with organ-loft in stone. 

To the N. of St. Gervais, behind the barracks, is the small Place 
Baudoyer, between the Rue deRivoli on theN. and theRueFrancois- 
Miron on the S. This Place was the scene of a sanguinary encounter 
in June, 1848. The Mairie of the MhArrondissement, (H6tel-de-VilleJ, 
on the E. side of the Place, is an edifice in the style prevalent at 
the end of the 16th century. The Salle des Manages and Salle des 
Fetes are embellished with paintings by Cormon and Comerre. 

The neighbouring Rue Francois -Miron, which up to 1836 was part of 
the Rue St. Antoine, contains some ancient buildings. The E6tel de Beauvais 
(No. 68), dating from 1655-1660, was designed by Ant. Lepautre, and 
possesses a fine circular court with a carved staircase; the Hdtel du Presi- 
dent Hinault (No. 82) has a balcony supported by a Moor's head. The Rue 
de Jouy and the Rue Geoffroy-FAsnier, both to the S., also contain several 
good specimens, the finest being the Hdtel d'Aumont, built by Mansart in 
1690, and now the Pharmacie Centrale (Rue de Jouy 7), and the 17th cent. 
Hdtel de Chalons-Luxembourg, with a handsome door, Rue Geoffroy-rAs- 
nier 26. — At the corner of the Rue de rH6tel-de-Ville and the Rue du 
Figuier (the S.E. prolongation of the Rue de Jouy, see above) rises the Hotel 
de Sens (now private property), where the archbishops of Sens resided when 
they were metropolitans of Paris, at that time a simple bishopric. It is 
built in the 15th cent, style, with turrets at the angles and a donjon, or 
keep, in the courtyard. The Hotel de Cluny (p. 271) is the only other 
specimen in Paris of the domestic architecture of this date. — Farther on 
lies the Quai des Ce'lestins (p. 182). — Curious houses may be seen also on 
the Quai de V Hdtel- de-ViHe (Nos. 14, 12, 10, 2, etc.). 

Beyond the E. end of the Rue Fran$ois-Miron the Rue de Rivoli 
takes the name of Rue St. Antoine (PI. R, 23, 26, 25; 7), from the 
former abbey which stood there. 

In the Rue St. Antoine, on the right, is the former Jesuit church 
of St. Paul et St. Louis (PL R, 25, 26 ; 7), erected in 1627-41 , by 
Pere Fr. Derand. The handsome baroque portal was added by Pere 
Marcel Ange. The dome of this church was one of the earliest in 
Paris. The architecture of the church is obviously inspired by 
Italian works of the 16th cent. , and retains the distinguishing 

12* 



180 Eight Bank 5. THE BASTILLE. From the Louvre 

characteristics of most Jesuit churches. The general effect of the 
interior is imposing, hut the style is somewhat florid and the de- 
coration overdone. In the left transept is a painting of Christ in the 
Garden, by Eug. Delacroix (1827). — The building behind, to the 
right, formerly a Jesuit college, is now the Lycee Charlemagne. — 
Station of the Metropolitain, see Appendix, p. 29. 

In the Rue St. Antoine (No. 119) is the Passage Charlemagne, containing 
the Hotel des Prdvdts, an ancient turreted building with spiral staircases, etc. 
— At No. 65 is the Passage St. Pierre. At the apex of the angle formed by 
this passage are the scanty remains of the archway forming the entrance to 
the cemetery of the church of St. Paul, destroyed in 1793. Rabelais and 
Mansart, the architect, were buried here. 

In the Rue Se'vigne, which begins opposite the church of St. Paul, 
is the Musee Oarnavalet (p. 187). 

On the left in the Rue St. Antoine, No. 62, is the old Hotel de 
Beihune or de Sully, built in 1624 by Jean Androuet Du Cerceau 
for Maximilien de Bethune, better known as the Due de Sully and 
minister of Henri IV. The court is interesting — On the right, 
No. 21, at the corner of the Rue du Petit - Muse , is the Hotel de 
Mayenne or d'Ormesson, built by Jacques Androuet Du Cerceau, 
now a school. It has a pretty vaulted staircase and a turret, and con- 
tains the room where the Ligue met to decide the death of Henri III 
(nothing to be seen). — The Rue de Birague, on the left, leads to 
the Place des Vosges (p. 191). 

Farther on in the Rue St. Antoine, to the right, is the Eglise de 
la Visitation, now the Temple Ste. Marie (Calvinist), constructed in 
the 17th cent, by Fr. Mansart. Then, to the left, at the corner of 
the Rue des Toumelles, is a bronze Statue of Beaumarchais (17 32-99), 
the author, by L. Clausade (1895). 

No. 38 in the Rue des Tournelles was built by Hardouin- Mansart for 
himself. The first floor was once occupied by Ninon de Lenclos (d. 1706). 

The Rue St. Antoine terminates in the Place de la Bastille. An 
inscription at No. 5 (on the left) relates to the taking of the Bastille. 

The Place de la Bastille (PL R, 25; V), or simply La Bastille, 
as it is usually called, was formerly the site of the Bastille St. Antoine, 
a castle enlarged from the Bastilia, an ancient fortified city-gateway, 
in 1371-83 by Kings Charles V and VI, and left standing when the 
old fortifications w r ere swept away under Louis XIV. It was situated 
to the W. ; part of its perimeter is traced by a line of white stones 
running along the ground between the Rue St. Antoine and the Boule- 
vard Henri IV. On the house at No. 3 is an inscription with the plan 
of the Bastille. This fortress, which commanded the river and its 
approaches and at the same time menaced the populous quarter of 
St. Antoine, was afterwards used as a state-prison, where the victims 
of a despotism so unjust that court favourites had merely to procure 
a 'lettre de cachet' to secure their immediate arrest were often con- 
fined. This prison of odious memory attained a world-wide celebrity 
in consequence of its destruction on 14th July, 1789, at the begin- 



to the Bastille. COLONNE DE JTJILLET. Right Bank 5. 181 

riing of the French Revolution. A rumour having spread that the 
regiments from St. Denis were marching on the city, and that the 
Bastille was ahout to bombard the Faubourg St. Antoine, the populace 
flew to arras. The governor Delaunay, who had only a handful of men 
under his orders, could make no prolonged stand against the multi- 
tude, and both he and his soldiers were massacred. The fortress was 
razed to the ground ; and some of its stones were afterwards used to 
build the Pont de la Concorde (p. 67). 

The *Colonne deJuillet, which now adorns the Place, by Alavoine 
and Due, was erected in 1831-40 in honour of the heroes who fell 
in the Revolution of July, 1830. The total height of the monument 
is 154 ft., and it rests on a massive round substructure faced with 
white marble. On this rises a square base, adorned on each side with 
six bronze medallions, which supports the pedestal of the column. 
On the "W. side of the pedestal is represented a bronze lion in relief 
(the astronomical symbol of July), by Barye. At each of the four 
corners is seen the Gallic cock holding garlands. The column itself 
is of bronze, 13 ft. in diameter, and partly fluted. It is divided by 
bands into five sections, on which the names of the fallen (615) are 
emblazoned in gilded letters. The summit is crowned by a bronze 
Genius of Liberty standing on a globe, holding in one hand the 
torch of civilization and in the other the broken chains of slavery, 
by J. Dumont. 

The Intebiob (adm. gratis) contains an excellent staircase of 238 steps 
leading to the top, whence a fine view is enjoyed. 

The Vaults (open 10-4 or 5; gratuity) consist of two chambers, each 
containing a sarcophagus, 45 ft. in length and 7 ft. in width, with the re- 
mains of the fallen. In the same receptacles were afterwards placed the 
victims of the Revolution of February, 1848. 

The Place de la Bastille played a part also in the troublous times of 
18-58 and 1871. In June, 1848, the insurgents erected their strongest bar- 
ricade at the entrance to the Rue du Faubourg-St-Antoine. It was there 
that Archbishop Affre (p. 267), while exhorting the people to peace, was 
killed by an insurgent's ball. In May, 1871, the site of the Bastille was 
one of the last strongholds of the Communards, by whom every egress of 
the Place had been formidably barricaded. 

To the N. of the Place de la Bastille are the Boulevard Beaumarchais 
(p. 85) and the wide Boulevard Richard- Lenoir , running above the 
Metropolitan (Line 5) and the Canal St. Martin (p. 241), which is 
vaulted over for a distance of nearly l*/ 4 M. ■ — To the E. begins the 
Rue du Faubourg-St-Antoine (p. 252), leading to the Place de la 
Nation (p. 252). — On the S.W. is a station of the Metropolitain 
(Lines 1 & 5; Appx., pp. 29, 33), and on the S.E. the Gare de 
Vincennes (p. 255). The Rue de Lyon ends at the Gare de Lyon 
(p. 182). — The Bassin or Gare d'Eau de V Arsenal, in which the 
Canal St. Martin ends, stretches to the S. 

Behind the Gare de Vincennes, at No. 28 Rue de Charenton, is the 
Hospice des Quinze-Vingts (PI. R, 25; V), one of the most venerable 
institutions in Paris, founded before 1260 by St. Louis for '15 times 20' (300) 
blind people. Originally standing on the site of the Palais-Royal, the hospice 
has since 1780 occupied the Hotel des Mousquetaires-Noirs, built by Cotte 
in 1702. 



182 Righi Punk 5. GARE DE LYON. 

The Boulevard Henri-Quatre (PL R, 25; V) extends to the S.W. 
of the Place de la Bastille, and affords a fine vista terminated by the 
dome of the Pantheon (p. 283). On the left side of this boulevard 
rises the Caserne des Ct'lestins, on the site of a celebrated monastery, 
which once contained the group of the three Theological Virtues by 
Germain Pilon (see p. 110). Opposite, near the bridge, are the 
remains of a tower of the Bastille (^Tour de la L'iberW), which were 
discovered beneath the Rue St. Antoine in excavating the Me'tro- 
politain and transferred hither in 1899. — In the Rue de Sully, 
No. 1, is the valuable Bibliotheque de V Arsenal (PL R, 25; V), 
occupying part of the old arsenal of Paris , which extended from 
the Seine to the Bastille. The library is open daily, 10-4, except 
on Sundays and holidays and during the vacation (15th Aug. to 1st 
Sept.). After the Bibliotheque Nationale it is the richest library in 
Paris (543,000 vols.; 9875 MSS."), especially in theatrical literature 
(35,000 plays are catalogued). 

The Boulevard Henri IV crosses the two arms of the Seine and 
the E. end of the He St. Louis (p. 268) by means of the Pont Sully 
(PL R, 22; ]'), near which, on the island, is a fine Monument to Barye 
(1796-1875), the animal sculptor, with reproductions of his chief 
works (see p. 165) and a medallion by Marqueste. 

On the right bank, below the bridge, at the beginning of the Quai 
pes Celestins (PL R, 25, 22; F), is the old Hotel de La Valette, now 
the College Massillon, a handsome building erected by J. Har- 
douin-Mansart (1671), with a monumental facade restored in the 
19th century. It was the residence of Fieubet, chancellor of Anne 
of Austria (1602-66). Farther on, on the right, in the Rue St. Paul 
(No. 4), is the Hotel de La Yieuville, once the residence of the Due 
de La Vieuville, who was minister of finance in 1649. 

At No. 32 Quai des Celestins was (as the inscription records) the 
tennis-court of the Croix-Noire , where the Illustre- Theatre of Moliere was 
established in 1645. The stage-entrance of this theatre and part of a well- 
curb still exist at Rue de f Aye-Maria 15, just round the corner. — Port 
of the Quai des Oele.stins, etc., see p. 326. 

On the right bank, upstream, between the Quai Hbnri-Quatre 
and the Boulevard Morland (PL R, 25 ; F), is the former He Louviers, 
united with the quay in 1840. Here are situated the Magasins de la 
Mile and the Archives de la Prefecture de la Seine. 

Farther to the S.E., beyond the Gare d'Eau de I'Arsenal (p. 181), 
are the Place Mazas (Me'tro Stat.; Appx., p. 33) and the Pont 
d'Autterlitz (p. 327). The Boulevard Diderot (PL R, 25, 28, 31) 
ends at the Place de la Nation (p. 252). The Gare de Lyon (PI. R, 
G, 25, 28), at the beginning of the boulevard, has a tower 210 ft. 
in height. Buffet on the 1st floor, gorgeously painted and decorated. 
The statues on the main platform are those of Sequin (1786-1815), 
inventor of the tubular boiler (p. 199), and Talabot (1799-1885), first 
director of the Paris-Lyon-Mediterranee Railway Co. — In front of 
this terminus, to the left, is a Me'tro station (Appx., p. 29). 



ARCHIVES NATIONALES. Bight Bank 5. 183 

Quartier du Marais. 

Mktroi'olitain Stations (Line 1; see Appx., p. 29): Hotel -de-Ville 
Station (p. 178), for the Archives ; St. Paul Station (p. 180), for the Musee 
Carnavalet. 

The Quartier du Marais is the district to the N.E. of the Hotel 
de Ville, bounded by the Rue de Rivoli, Rue St. Antoine (p. 179), 
Rue du Temple, and Boul. Beaumarchais (p. 85). Down to the 18th 
cent, a fashionable quarter with several still handsome mansions, 
it is now quite given over to trade and manufactures. — In the Rue 
des Francs-Bourgeois, in the W. of this quarter, are the — 

Archives Nationales (PL R, 23 ; II f), established in the old 
Hotel de Soubise. This building occupies the site of the mansion of 
theConnetable Olivier de Clisson, the companion-in-arms of Dugues- 
clin, erected in 1371, of which there still exists in the Rue des Ar- 
chives (No. 58), to the left of the facade, a handsome gateway flanked 
with two turrets (restored in 1846). Down to 1696 the mansion 
belonged to the powerful Guise family , after which it came into 
the possession of the family of Soubise. The present Palais des 
Archives chiefly consists of buildings erected in 1706-12 by G. Boff- 
rand for Francois de Rohan, Prince de Soubise, and others added 
or reconstructed in the 19th century. The entrance is in the Rue 
des Francs- Bourgeois. The court is surrounded by a handsome 
Corinthian colonnade by P. A. Delamair; the pediment is adorned 
with sculptures by R. Le Lorrain. 

The national archives were deposited here in 1808. They are 
divided into four departments — the 'Secretariat', the 'Section 
Historique', the 'Section Administrative', and the 'Section Legis- 
lative et Judiciaire'. Students are admitted for purposes of research 
daily, 10-5 o'clock, except on holidays, on previous application at 
the Bureau des Renseignements. The 'MuseV consists of a collection 
of the chief treasures of the Archives, but several documents are 
represented only by facsimiles. 

The Musee des Archives, or Musie PaMographique, is open to the public 
on Sun., and visitors are admitted also on Thurs. (12-3) on presentation 
of their card. The principal objects are labelled, and there is an illus- 
trated catalogue by J. GuiEfrey (1 fr.). The musee is not heated in winter. 
There is no 'vestiaire 1 . — The decorations of some of the rooms are 
among the best examples of the style of Louis XV in Paris. 

Ground Floor. Salle I. The paintings above the doors represent Diana 
disarming Cupid, by Trimolieres (1737), and Apollo instructing Cupid on the 
lyre, by Restout (1737) . — Foreign Documents: Cases 18-22. Belgium; 23, 24. 
Netherlands; 25-28. Germany; 29. Sweden; 30. Denmark; 31, 32. Norway ; 
33-36 Austria-Hungary; 37-43. Spain; 44, 45. Portugal; 46-48. Italy; 49-57. 
Papal See; 58, 59. Russia; 60-63. Eastern Europe; 64-68. African and Asiatic 
states; 69. United States of America (letter from Franklin to Washington). 

Salle II. Treaties and Foreign Documents, in 69 glass-cases. Cases 1-14. 
Treaties of alliance and peace, from the treaty between Richard Coeur-de- 
Lion and Philip Augustus (1195) to the Conventions of Erfurt (1808); 
15-17. Great Britain. — This was the summer sitting-room of the Prince 
de Soubise. It is of oval shape and decorated, like the other rooms, from 
designs by G. Boffrand, with delicately carved panels and groups of figures 
almost in the round between the archivolts of the doors and windows. 



184 E. Bank 5. ARCHIVES NATIONALES. Quartier 

Music, Justice, Painting and Poetry, History and Fame, by L. S. Adam ; 
Astronomy, Architecture, Comedy, by J. B. Lemoine. 

Salle III. This was part of the Prince de Soubise's bedroom. The 
delicate mouldings on the cornice show the interlaced double S with the 
mascle or lozenge voided, the heraldic device of the Soubise, whose motto 
was 'Sine macula macla 1 . The room is divided by a partition and contains 
the Seals. Reproductions of the finest seals in the Archives ; seals of pro- 
vinces, communes, foreign sovereigns, princes, and noblemen, etc. ; stamps 
from stamped papers; dies for coins. Also an allegorical painting ('Tableau 
des Jesuites') of little artistic value but historically celebrated. It dates 
from the reign of Henri IV, and represents the vessel of the Church on its 
voyage towards the harbour of Salvation, surrounded with boats bringing 
believers to it, and with others containing assailants. It was discovered in 
a church of the Jesuits, and afforded an argument against them when the 
order was suppressed in 1762. 

On leaving this room we pass under a vaulted passage which connects 
the two interior courts, and ascend to the first floor by the Escalier de Guise, 
on the banisters of which we notice the gilded double cross of the great 
Lorraine lineage. 

Fikst Flook. 1st Eoom (Salle du Consulat et de V Empire). Richly 
carved panels over the doors. Paintings : on the left, Neptune and Amphitrite, 
by Restout (1738)-, on the right, Mars and Venus, by G. Van Loo. At the 
end, two scenes from the fables of La Fontaine : Mercury offering the three 
axes to the Woodcutter, by G. Van Loo, and Boreas and the Traveller, by 
Restoui. — Documents of the end of the 18th Cent, and of 1800-1815. Cases 
117-152, Autographs of Danton, Charlotte Corday (No. 1368, farewell-letter 
to her father), Robespierre, Hoche, Bonaparte (letter to Pope Pius VII., 
No. 1496), etc. 

2nd Room. Above the doors : Education of Cupid by Mercury (Boucher, 
1738); Characters of Theophrastus , or Sincerity (Tremolieres, 1737). Rear 
wall, above (left), Secrecy and Prudence (Restout, 1737) ; (right), Friendship 
of Castor and Pollux (C. Van Loo ; 1737). Below (left), Venus at her toilet, 
by G. Van Loo ; (right), *Venus in her bath, by Boucher, one of the best paintings 
in the Archives. Left wall, Marriage of Hercules and Hebe (Tr&molieres). 
Right wall, Mythological scene (Boucher). — Cases 87-116. Documents of the 
reigns of Louis XV and Louis XVI (1715-92). 

3rd Room. "Salon Ovale or Salon d Hiver of the Princess de Soubise, 
one of the most admired examples of 18th cent, decorative art. The exquisite 
painting of the ceiling, by G. Boffrand, and the eight cartouches with their 
graceful garlands of foliage and flowers and their scenes from the story of 
Psyche, the chief work of Ch. Natoire, should be specially noted. The 
series begins to the left of the entrance. Most of the pictures are signed 
and dated (1737, 1738, and 1739). — Glass-cases 78-83, from right to left: 
Documents of the end of the 18th Century, including the Oath taken at the 
Jeu de Paume (in case 79), papers relating to the Bastille (81), Declaration 
of the Rights of Man (82), Constitutions of 1791, 1793, 'an IIP, and 'an VIII' 
(83). — Cases 84-86, at the end: Papers relating to Marie Antoinette; the 
will of Louis XVI , and the last letter of Marie Antoinette (unsigned and 
of doubtful authenticity); journal, speech, and letter of Louis XVI. Near 
the centre of the room is a table from the cabinet of Louis XVI, on 
which Robespierre, when wounded, was brought before the 'Comity du 
Salut Public'' at the Tuileries. 

4th Room, or former *Bed Ghamber of the Princess de Soubise. A gilded 
balustrade (restored) marks the spot where the bed stood. The room is 
decorated with four mythological subjects in low-relief, gilded, four medal- 
lions, and mythological groups by the first sculptors of the period. Above 
the doors : The Graces presiding at the education of Cupid, by Boucher, 
and Minerva teaching the art of tapestry to a young girl, by Trimolieres 
(1737). The two pastorals at the back of the alcove are by Boucher, who 
also painted one of the landscapes, the other being by Ti'imolieres (1738). 

The two next rooms, the Salle des Gardes and the Salle des Busies, 
contain ancient seals and documents. — The staircase beyond is modern, 
and has a ceiling-painting by Jdbbi-Duval. A copy of the large plan of 



du Marais,. MONT-DE-PIETE. Right Bank 5 . 185 

Paris known as 'Turgofs Plan' (1739-40) is shown here, also bu3ls of keepers 
of the archives (one of Daunou by David a" Angers), The gilded carved 
*Panels, with scenes from La Fontaine's fables, are temporarily placed 
here. On the right is the door of the Depot, where the custodian shows the 
keys and a relief of the Bastille carved on a stone from the prison by the 
'patriot'' Palloy. The documents preserved in the Depot and the iron safe 
containing the legal standards of the metre and kilogramme can be seen 
only by special permission. — The pretentious unrailed staircase leads down 
into the court, at the other side of which is the exit. 

Lovers of old Paris will enjoy a stroll through some of the neigh- 
bouring streets. In the Rue des Archives, No. 78, is the Hotel du 
Marechal Tallard (1728 ; fine staircase by Bullet in the court to the 
right); at the corner of the Rue des Haudriettes is a Fountain, 
erected by the Prince de Rohan (1705), with a naiad by Mignot; 
the fine Gothic doorway at No. 58 was the former entrance to the 
mansion of the Clisson family, now the Archives (p. 183) ; No. 24 
was the Chapelle du Couvent des Billettes, builk in 1754, and now 
(since 1808) a Protestant place of worship (the sacristy may be seen). 
In the Rue des Quatre-Fils, to the right of the Rue des Archives, is 
the house (No. 22) where Mme. du Deffand entertained Yoltaire, 
Montesquieu, d'Alembert, Horace Walpole, etc. 

The Rue des Francs-Bourgeois (PI. R, 26, 23 ; III, V), to the 
S. of the Archives Nationales, leads to the Musee Carnavalet (p. 187). 
The name of 'francs bourgeois' was given to those citizens who were 
free to change their domicile, the 'petits bourgeois' not being allowed 
to do so, and the 'grands bourgeois 1 being tied to their seignories. At 
No. 35 is the Mont-de-Piete (entrance, Rue des Blancs-Manteaux 18), 
or great pawnbroking establishment of Paris, which enjoys a mono- 
poly of lending money on pledges for the benefit of the 'Assistance 
Publique' . 

The loans are not made for less than a fortnight, but articles may be 
redeemed within that time on payment of the fees. Four-fifths of the 
value of articles of gold or silver, two-thirds of the value of other articles, 
are advanced, the maximum lent being 10.000 fr. at this establishment, 
and 500 fr. at the branch-offices. The interest and fees, which before 1885 
were as high as 972 per cent, are now reduced to 6 per cent, with a minimum 
of 1 fr. The pledges are sold after fourteen months from the time when the 
borrower has failed to redeem them or to renew his ticket; but within 
three years more the excess of the price realised over the sum lent may 
still be claimed. The Mont-de-Pie'te' lends about 56,000,000 fr. annually on 
about 2 million articles. The sale of unredeemed pledges produces about 
4,000,000 fr. annually. Loans upon deeds up to 500 fr. were authorized in 1892. 

In the court (Cour de l'Horloge) may be seen the outline of the 
wall of Philippe Auguste (p. 92). — Adjacent to the Mont-de-Pie'te' 
is the church of Notre-Dame-des-Blancs-Manteaux, the insignificant 
relic of a convent which stood on the site of the pawn-office. — 
In the Rue des Blancs-Manteaux, at the back, No. 25, is the tavern 
'L'Homme Arrne", with an 18th cent, sign (comp. p. 172). — The 
Rue des Guillemites, which intersects the last, contains (No. 14) the 
remains of the above-mentioned convent. 

In the Rue des Francs-Bourgeois (31) is the Hotel dfAlbret, built 
about 1550 by the Oonnetable Anne de Montmorency, and restored in 



186 R. Batik 5. IMPRIMEEIE NATIONALE. Quartiw 

the L8tb cent, (inscription). Mme. Scan-on, afteiwardsMme.de Main- 
tenon, made the acquaintance there of Affme. de Montespan, who 
entrusted hex with the education of her children. At No. 30, //(>/</■ de 
Jtan Je Fourcy (1670), a l>ust of Henri IV stands In the court, 
above the cornice, At No. 42, farther on, at tlie corner of the Rue 
Vieille-du-Temple (No. 64), rises a Gothic tower with arcades and a 
grated window, a relic of the mansion built in 1628 by Jean de la 
Balue, who married the widow of .lean llerouet, secretary of Louis 11 
of Orleans. Then, at No, 38, is the curious blind alley where stood 
the Poterne Barbtitt\ the postern where Louis I. of Orleans, brother 
o\' Charles VI, was assassinated in 1407 by order of Jean sans Peur, 
Duke of Burgundy. An escutcheon with an inscription above the 
door commemorates the event. — To the left, a little farther up, in 
the Rue Vieille-du-Temple, is the — 

Iruprimerie Nationale (PL R, 23; III\ or government print- 
ing-office, established in the old Hdtel de Strasbourg (1712), which 
once belonged to the Dukes of Rohan, four of whom were cardinals 
and bishops of Strassburg, among them the famous Cardinal de Rohan 
(1734-1803) who was implicated in the affair of Marie Antoinette's 
necklace. The first court is adorned with a copy in bronze of the 
statue of Gutenberg by David d' Angers at Strassburg (1852), and in 
the second court, above the stables, is a fine relief (Steeds of Apollo) 
by R. Le Lorrain. Visitors are admitted to the printing-office on 
Thurs. .at '2 .30 p.m. precisely, with tickets obtained from the director ; 
the building is shown daily (except Sun. and holidays). '2.30-3.30, 
on presentation of a visiting-card. The visit to the printing-office 
takes 1 - 1 ' o hr. The director's room contains two landscapes by 
Boucher, a beautiful clock in the Boule style, and in the middle, 
Cardinal de Rohan's table. The 'Cabinet des Poineous' has a carved 
and gilded cornice with designs of birds, and the 'Salon des Singes 1 
is decorated with paintings by Huet. The printing-office employs 
about 1200 workpeople of both sexes. The chief business consists 
in printing official documents, books published at the expense of 
government, geological maps, and certain playing-cards (viz, the 
'court' cards and the ace of clubs, the manufacture of which is a 
monopoly of the state). The printing-works are about to be trans- 
ferred to Grenelle (Rue de la Convention). 

A little to the N. of the Imprimerie, in the Rue Chariot, is the 17th 
cent, church of St. Jean-St-Fran<?ois (PI. R. 2J; III), formerly a chapel 
belonging to the Capuchins of the Marais (1628). It contains a number of 
paintings (badly lighted), among which is St. Louis visiting the plague- 
stricken, by Arp Schtffer (lirst to the left, in the nave). There are also 
eight tapestries referring to a 'Miracle of the Host" that took place in Paris 
in 1390. At the entrance to the choir are statues of St. Francis of Assisi 
(by (?. Pilon) and St. Denis (by J. Sarazin). — Other tine buildings of the 
17-lSth cent, in the Rue Chariot are those at Xos. 3, 9, 57, 58, 62, etc. 

In the part of the Rue Yieille-dn-Temple lying to the S. of Olq 
Rue des Francs-Bourgeois is the Hotel de Hollande (No. 47), a hand- 
some edifice of the 17th cent., once occupied by the Dutch ambas- 



i in Morals. 



MUS^E CARNA VALET. Ji. Bank 5. 1.87 



sailor to the court of Louis XIV. It was constructed in 1638 by 
Cottard, and has a gateway adorned with fine sculptures (heads of 
Medusa and other mythological subjects). The court contains a large 
bas-relief of Romulus and Remus suckled by the wolf, byRegnaudin. 

Beyond the Rue Vieille-du-Temple the Rue des Francs-Bourgeois 
passes on the right the old Hotel Lamoignon (No. 25), built after 
1580 for Diane de France, Duchess of Angoulcme, the legitimised 
daughter of Henri II and Philippine Due, his Piedmontese mistress. 
Iler crest (crescents, hunting symbols, and the letter D repeated) may 
still be seen in the handsome court, the entrance to which is in the 
Rue Pavee (No. 24), diverging to the right. 

Farther on, to the left, in the Rue Sevigne', is the — 

*Musee Carnavalet (PL R, 26; V), or Musee Historique de la 
Ville, containing a collection illustrating the history of Paris and 
of the Revolution. It was at one time the Hotel des Ligneris, and 
then the Hotel de Kernevenoy, whence the present name of Carna- 
valet. It was the residence of Mme. de Sevigne* for eighteen years 
(1 677-96). The building was begun in 1544 from designs by Lescot 
and Bullant, continued by Du Cerceau, and enlarged in 1660 by 
F. Mansart, who built the principal facade in the Rue de SeVigne". 
The portal, however, with sculptures by Jean Goujon, is earlier. 

The Muteum (curator, M. Geo. Cain) i3 open to the public daily (ex- 
cept Mon. and holidays), 10-5 (4 in winter). Sticks and umbrellas must 
be given up (no fee). Descriptive labels everywhere. Those whose time 
is limited should pass quickly through the groundfloor of the right wing 
and ascend at once to the first floor by the main staircase in the main 
building (p. 183). 

The archway, under which, to the right, is the entrance to the 
museum, leads to a Couiit, in the centre of which is a fine bronze 




JttLe> d as Fro. n,c; -Jin u ra an i 

'i £ 2E ii" :Metre s 



statue of Louis XIV, by Ant. Coyzevox, brought from the old Hotel 
de Ville. The sculptures of the Seasons, on the facade facing the 
archway, are attributed to Jean Qoujon. To the left is a staircase 
to the first floor. 

Ground Floor. Right Wing (entrance beneath the archway): Antiqui- 
ties, in two rooms (PI. I and II), which are divided into nine small rooms 



188 Right Bank 5. MUSEE CARNA VALET. Ground Floor. 

or sections. These contain prehistoric monuments, Roman antiquities, and 
monuments of the Merovingian period. Among the Roman antiquities are 
stones from the Amphitheatre in the Rue Monge (p. 28S), sarcophagi, sculp- 
tures, tombstones, millstones, etc. 

The Main Building, to the left as we come from the preceding rooms, 
contains additional Antiquities (in Rooms III, IV, and F) : fragments of Gallo- 
Roman buildings; 16th cent, chimneypiece; earthenware, glass, bronzes, 
and coins, found in Gallo-Roman , Merovingian, and mediaeval tombs. 
Bronze statuette of Charlempgne' from the cathedral of Metz (9th cent.; 
in R. V). — Beyond the last room, to the left, is the principal staircase, 
ascending to the first floor (see below). 

The Garden is surrounded on the three other sides with constructions 
erected since 1860. In the middle, to the left, the Arc de Nazareth (16th 
cent.), a gateway from the old street of that name in the CittS, with 
sculptures by Jean Goujon, and a tasteful modern gate. Opposite, to the 
right, is the Pavilion de Choiseul (end of the 17th cent.), while at the end is 
the handsome facade brought from the old Guildhouse of the Drapers (17th 
cent.), by L. Bruaut. — In the galleries, to the right and left, are frag- 
ments of old Parisian buildings. Under the Pavilion de Choiseul is an 
equestrian bronze relief of Henri IV, by Lemaire (1838), from the old 
Hotel de Ville. 

The rooms at the end of the garden, containing Memorials of Paris 
during the 19th Centurt, may be entered from either gallery. We choose 
that to the right, which leads to the staircase mentioned below. 

Salle du Palais-Royal (PI. IX). Relief- model of the Palais-Royal, executed 
in 1843; paintings; engravings. Medallions of his contemporaries, by David 
d 1 Angers. Model of an old diligence. — The Salle de VE6tel-de-Ville (PI. 
VIII) contains relics of the old Hotel de Ville; fragments of an altar- 
screen (154'2). Left Avail, Landscapes and views of Paris. In the centre, 
Cradle of the Prince Imperial, presented to Napoleon III. by the city of 
Paris. — Salle de 1830 (PI. VII). In the centre. Caricature Statuettes and Busts 
of celebrities of the time of Louis Philippe, by Dantan the Younger. By 
the wall next the garden, Statuette of the Duke of Bordeaux (Henri V) 
at the age of seven; portraits of George Sand (one in masculine dress) and 
Be'ranger; chair in which Be'ranger died; bust of Be'ranger, by Perraud. 
In the glass-cases are memorials of the Restoration and the Revolution of 
1830; by the 1st window (left), plaquettes, medallions, insignia, etc.; on 
the walls, paintings and engravings (Burial of the Victims of July, by 




Jin^ dcs Francs - Bourgeois 

1 £ 2 i Metres 

Roelm). — In the Vestibule (VI), bronze bust and memorials of President 
Carnot (d. 1894): door of Balzac's bedroom. 

From the garden we return to the main building and ascend the prin- 
cipal Staircase to the first iloor. On the staircase walls are facsimiles of 
ancient plans of Paris. 

First Floor. — Rooms I-IV. Topography of Paris : Views of Paris, 
prints, paintings, and drawings; illustrations of bygone scenes and manners 



First Floor. MUSEE CARNAYALET. Right Bank 5. 189 

(explanatory labels), by H. Robert, Raguenet, Demachy, Norblin, and 
Hoif bauer (modern water-colours). Also (in R. II), Procession of the Ligue 
in 1590, by a pupil of Pourbus. — Room V. *View of the Chateau of 
St. Cloud, an early work by Troyon. — Room VI. Views of Paris by 
G. Michel, Dagnan (Boul. Poissonniere), Corot, Vollon, etc. Also, a col- 
lection of Sevres porcelain from the time of the Revolution, with views 
and emblems, and more than 200 historic snuff-boxes (1789-1848). — Salle 
Dangeau (PI. VII). Ceiling -painting (attributed to Le Brun) and gilded 
panelling brought from the former Hotel Dangeau (time of Louis XIV). 
Porcelain and tapestries. Wax portrait of Henri IV, modelled by Bour- 
din (?) on the day after the king's assassination (1610). — Salle de la Ligue 
(PI. VIII). To the left, Caricature of the Procession and Orgy of the Ligue 
(see above). By the next window, collection referring to the history of 
balloons (1783-1880); Dabois giving a lesson to the Duke of Orleans (per- 
haps by Jouvenet); Romance of the Chevaliers de la Gloire (tournament 
under Louis XIII.), by Claude Chastillon (?). Revolutionary porcelain and 
Stone- ware, including the inkstand of Camille Desmoulins. Ceiling-paint- 
ing by Le Brun (restored by Maillot): Olympus, Mercury presenting Hebe to 
Jupiter; in the angles, Muses. 

The adjacent Staircase descends to the Salle du Palais-Royal (19th cent, 
memorials, see p. 188). Here and on the landing are wood carvings, old 
Paris signs in wood and wrought iron, ornamental plates for fireplaces, etc. 
— Farther on, on the right, is the — 

Galerie de la Revolution (PI. IX & XI), containing memorials of 
the Revolutionary period: Portraits of De Launay, Louis Philippe Egalite, 
Chenier, Marat, Danton, Robespierre, and revolutionary Porcelain, chiefly 
made at Nevers. In the third case (left), 'Tasse a la Guillotine 1 , in Berlin 
porcelain. The glass-cases by the windows contain busts, statuettes, 
autographs, etc. ; to the right of the exit, painted mask of Voltaire. — 
The Salon des Stuarts (PL X) has fine panelling and a ceiling of the 18th 
century from the Hotel des Stuarts. Sevres vases of the Revolutionary 
period. Opposite, glass-case containing various relics (Marat's snuff-box, 
etc.). To the left, bust of Delille (d. 1813), by Pajou •, harp in carved wood. 
To the right, Voltaire's arm-chair in which he died, and the small ad- 
justable arm-chair of Couthon. — Galerie de la Revolution (PI. XI). Among the 
portraits are those of Desmoulins, Mirabeau, St. Just, Hoche, Theroigne 
de Mericourt (the 'Amazon of Liberty' ; 1762-1817), Marat after his assassin- 
ation (by David), and Philippe Egalite (by Sir Joshua Reynolds); to the 
left of the entrance is a clock satirizing the Revolution ; original sketch for 
David's painting of 'The Death of Marat' ; ^Preparations for the Festival 
of Federation in the Champ-de-Mars in 1790, by Debucourt; Oath in the 
Jeu de Paume, completed reduction of the painting sketched by David; 
Funeral of Marat; decorations, miniatures, fans, watches, revolutionary 
buttons, and so forth. In the cases to the right are autographs of Robes- 
pierre, Mirabeau, Fouche, etc. ; documents relating to the execution of 
Louis XVI ('Louis Capef). 

Salle de la Bastille (PI. XII). Revolutionary period continued. In 
the centre, Model of the Bastille, made from a stone of that building. In 
the glass-case surrounding it, relics of various kinds connected with the 
Bastille; next the fireplace, lettres de cachet (see p. 180); Louis XVI's 
autograph order for the defenders of the Tuileries to cease firing (Aug. 10th, 
1792 ; see p. 69) ; medallion of Louis XVI with a Phrygian bonnet and 
tricolour sash. Hanging from the ceiling is a banner of the Emigres, with 
the arms of France and. the Allies and the Hydra of the Revolution. By 
the entrance-wall : Cabinet with a representation of the fall of the Bastille ; 
table of the Rights of Man (on the wall) ; weapons, playing-cards, and bind- 
ings of the Revolution, including a copy of the Constitution of 1793 bound 
in human skin. Another cabinet with portraits, including one of 'La Veuve 
Capet' (Marie Antoinette) during her incarceration in the Conciergerie, by 
Prieur, and a miniature of Charlotte Corday, taken from life during her 
trial, by Queverdo ; window-curtains. Fireplace-wall : Weapons ; instruments 
of punishment; portrait of Latude, who incurred the displeasure of Mme. 
Pompadour and was confined for thirty-six years in the Bastille; below 



190 Eight Bank 5. MTJS^E CARNA VALET. Quartier 

are the rope-ladder and tools that aided his ultimate escape. Garden-wall: 
Cabinet decorated with patriotic scenes; swords and sabres of honour. 

The Salle de V Empire (PI. X11I) is devoted to the Napoleonic period. 
To the left, is Napoleon I/s iield-desk and dressing-case, articles in silver- 
gilt; autographs, medals, etc. By the window, relics of Napoleon I., 
connected more especially with St. Helena; map of Germany used by bini 
in L806; death-masks of Napoleon I. and bis son tbe Duke of Beiehstadt 
(PAiglon). Lett wall, Gros, Cardinal de Belloy, archbishop of Paris, 
receiving the colours taken at the battle of Austerlitz. Tbe Beugnot 
bequest (1902) includes the deeds of the grand-duchy of Berg, which fell to 
Murat; * rocket-book with the arms of Napoleon; bonbonnieres with minia- 
tures of Letitia aud Jerome Bonaparte. — A staircase to the left ascends 
hence to the second floor (p. 19:1). 

The next eight rooms, occupied by Mine, de Sevigne in 1677-90, have, 
with the exception of R. XVI, been adorned with panelling and wood- 
carvings from ancient mansions in Paris, illustrating various styles of 
decoration. — Room XIV, with panelling in the style of the Regency, con- 
tains paintings, drawings, and engravings. From left to right: Boilly, 
Standard-Bearer (1788) ; Tocqui, Mme. Doyen; Jeaurat, Portrait of himself. 
Above the fireplace, Pesos, Marietta, the author; at the sides, Hubert Robert, 
Destruction of the church of tbe Feuillants (p. 6S), and another painting 
by the same. On the ehimne> piece , a curious decimal clock of 1795. 
Right wall, JK-bucourt, Portrait of himself; Boillp, Departuie of the Paris 
conscripts (1807), Tbe rout-Royal in 1800. On the table is an allegorical 
group by CAinard. Before tbe mirror, a terracotta bust by Caffieri. — 
Salle des Costume* (PL XV). Glass-case at the end, rich costumes from the 
reign of Louis XIV to the Empire; above, statuettes of the principal per- 
sonages in Italian comedy. In the glass-cases at the sides and on the walls 
are coloured engravings of the period and costumes. Fi-iufhon, 'Portrait; 
opposite, Boillp, '•'Portrait of Lucile Desuioulins. Central glass-case: caps 
of liberty, cockades, shoes, buttons, etc.; christening-robe of tbe Prince 
Imperial (1S56) ; above, elaborately dressed wax dolls of the time of 
Louis XV, including a figure of Voltaire; behind, tine collection of 
tortoise-shell combs. — Salle des Thidtres (PI. XVI). Theatrical portraits, 
caricatures, autographs, and personal relics of actors. On tbe wall, paint- 
ing of the old Boulevard dn Temple in 1S62, with its seven theatres. 
Rear wall, Bust of Taillade, by Deloye. In the case by tbe right window 
are relics of the 'three Dumas' (Alexandre pere, 1803-70; Alexandre tils 
1824-95; Adolphe Dumas, Provencal poet, 1806-01). — Galerie Lvcien 
Fan con (PI. XVII). Drawings: Van der Mailen, Inauguration of the 
Dome des Invalides. Two cabinets with medallions ; case with coins and 
drawings by Aug. Dupri; in the first cabiuet, memorials of Alboni (d. 1894), 
the singer. — Salle A. de Liesville (PI. XV1I1). Paintings and drawings : 
Drawing competition by Cochin; portraits of Ledoux the architect (1730- 
1806) and d'Alembert (1753-81). End-wall, Jeaurat, Dispute at the fountain; 
above, Coppel, Artists in company. On the wall next the court, Portraits 
of J. J. Rousseau and Ledru de Comus, the conjurer. To the right of 
the entrance, Portrait of Theroigue de Me'ri court (p. 189), by Verier ('?); 
Mme. Pouget. by Chardin. The central glass-case contains statuettes, 
medallions, etc., "chiefly of the 18th century. — Salon China's (PI. XIX), 
with rococo panelling painted with Chinese subjects. — Salle de St'vignt 
(PL XX), formerly the salon of the Marquise de Sevigne. On tbe entrance- 
wall, Mignard, "Portrait of Mme. de Grignan, daughter of Mme. de Sevigne'; 
below, glass-case containing a letter written by tbe marquise; her minia- 
ture; portraits of Roger Bontemps, the French 15th cent, poet (1470-1540) 
and Jean Goujon, tbe sculptor. At tbe end, to the right and left, H. Robert, 
the Pont de Notre-Dame and the Pont au Change. Porcelain, purses, small 
genre pictures of the period. — Room XXI, at the entrance to which is 
an iron railing of tine workmanship, contains most of tbe valuable collection 
of porcelain bequeathed by M. de Liesville. — Through Room XX (on 
the right) to the Salle des Fchevins (PL XXII). Portraits of e'ehevins (guild- 
wardens) and other magistrates; to tbe left of the entrance. Voltaire at 
tbe age of 24 (by Largilliere') and engravings referring to Voltaire. On the 



du Mar ais. PLACE DES VOSGES. 1 'light Bank 5. 191 

left wall arc a portrait of J. J. Rousseau and another portrait by Duplessis, 
and, to the lclt of the entrance, an excellent portrait of two echevins by 
Largilliere. 

We now return to Room XIII and ascend the staircase to the — 
Second Floor. Six small rooms here are devoted mainly to the Siege 
of Paris in 1870-71. Room L Paintings, drawings, and sketches, by 
Guiltier. — Room II (to the right). In the middle is a relief-plan of the 
environs of St. Germain-en-Laye (battlefield of Jan. 19th, 1871). Memorials 
of Gambetta, including a death-mask. Uniforms and weapons worn by 
Meissonier, Claretie, Dubois, Carolus-Duran, and other well-known men 
a3 National Guards. MSS., pictures, and photographs. — Room III. Re- 
mains of a balloon in which a plenipotentiary of the government in 
Paris escaped to Austria. Representations of the ambulance -service. 
Letters sent by pigeon-post; diminutive newspapers; provision- tickets; 
passes. Paintings, including the Porte Maillot (Nov. 1870), by Ed. Detaille. 

— Room IV. Specimens of foods and substitutes for food. Death-mask of 
the painter Regnault, who fell in a sortie at Buzenval (1871). This room 
and Rooms V and VI also contain satirical paintings and newspapers; weap- 
ons ; portraits. Cabinet with fused glass and metal and other relics of con- 
flagrations. Also, death-masks of Gustave Flaubert (1821-80) and Michelet, 
the historian (1798-1874). In R. VI are memorials of Nicholas II.'s visit 
to Paris in 1896. 

At No. 29 Rue de S6vigne, in what was once the Hotel de Le Peletier 
de Souzy (erected by Bullet in 1687), is the Bibliotheque Historique de la 
Ville, founded to replace the library destroyed in the Hotel de Ville in 
1871. It comprises about 200,000 vols, and 15,000 MSS. illustrative of the 
history of Paris and the Revolution, besides a series of plans of Paris 
since the 16th century. It is open to readers on week-days, 10-4 in winter, 
and 11-5 after Easter (closed in Easter week and from Aug. 15th to the first 
Mon. in Oct.). Public lectures on the history of Paris, weekly in winter. 

Other ancient mansions in the Rue de S6vigne are: No. 52, HOtel de 
Flesselles, who was Ihe last Prevot des Marchands (massacred in 1789) ; 
it is decorated with sculptures of foliage, urns, etc. > Nos. 7 and 9, Hdtel 
du Conseiller Nic. Pinon (now barracks; fine facade in the court of No. 9), etc. 

— The building in front of the library (No. 27) is the Lycie Victor Hugo, 
a high-school for girls, erected on the site of the Couvent des Filles-Bleues, 
which was founded by the Marquise de Verneuil, mistress of Henri IV. 

A little farther on the Rue des Francs-Bourgeois ends at the 
Place des Vosges (PI. R, 26 ; F), formerly called the Place Royale. 
Its present name dates from the Revolution and was given in honour 
of the department of the Vosges , which was the first to forward 
patriotic contributions to Paris. The name has, however, twice been 
changed during the intervening period. The marble Equestrian 
Statue of Louis XIII, in the centre, by Dupaty and Cortot, was 
erected in 1825 to replace a statue raised by Richelieu in 1639 
and destroyed in 1792. The angles of the square are adorned with 
fountains, and all around are houses of the 17-18th cent., with 
arcades and steep roofs. 

The Place des Vosges occupies the site of the court of the old Palais 
des Tournelles, where the tournament at which Henri II was accidental- 
ly killed took place in 1565 (see p. 175). It then became a horse-market 
and witnessed the duel, in 1578, between the three minions of Henri III 
and the three favourites of the Dae de Guise. Catherine de M^dicis caused 
the palace to he demolished, and Henri IV erected the present square. 
Fine old houses at No. 21 (Hotel de Richelieu, 1615); No. 13, where the 
tragedian Rachel died; No. 3 (Hotel d'Estrades); No. 1 (Hotel de Cou- 
langes, 1606; entrance, Rue de Birague llbis), where Mme. de S^vigne 
was born. 



192 Bight Bank 5. HOUSE OF VICTOR HUGO. 

The House of Victor Hugo (PL R, 26 ; V), at No. 6 in the Place 
des Vosges, was the residence of Marshal de Lavardin (1610). The 
poet occupied the second floor from 1833 to 1848. It was converted 
into a museum in 1903. Open daily (except Mon. and holidays), 
10-4 or 5 (curator, Dr. L. Koch). Short guide, 1 fr. ; catalogue in 
preparation. 

Staircase. Plaster bust of V. Hugo, by Marqueste. Drawings of scenes 
from Victor Hugo's works, by Rochegrosse, E. Bayard, Brion, Villette, 
Robert-Fleury, etc. ; caricatures by Nadar, Daumier, Gill, and others. 

First Floor. — Vestibule. Plaster bust of V. Hugo, by Schoenewerk 
(1879)-, drawings by F. Lix, Rochegrosse, etc. — Grande Galeeie. Left 
wall, 103. E. Garriere, Fantine abandoned-, 102. Fantin-Latour, The satyr; 
100. Bonnat, Portrait of V. Hugo; 99. Henner, Sarah at the bath; 98.Raff'a- 
elli, The march past (Feb. 26th, 1881). Principal left wall, 97. Devambez, 
Jean Valjean before the tribunal. First window, Death-mask of V. Hugo, 
by Dalou. Farther on, 94. Roll, Vigil at the Arc de Triomphe (see p. 76). 
2nd window, : 'Bust of V. Hugo, by Rodin. Then, 92. P. Baudry, Consecra- 
tion of Woman; Willette, Gavroche on the barricade; 90. Ol. Merson, Es- 
meralda; 88. B. Lepage, Portrait of V. Hugo; 87. Chifflart, Death of Gil- 
liatt; 85. Grasset, Eviradnus. At the end, 84. Rochegrosse, The Burgraves ; 
83. J. P. Laurent, Death of Baudin (see p. 252); David d' 'Angers, :; V. Hugo 
in his youth (1838), marble bust; 81. A. Besnard, First performance of 
Hernani; F. Roybet, Don Cesar de Bazan. Principal right wall, Bteinlen, 
Poor folk; 77. Gabanel, The Titan; 76. E. Foumier, Hernani (act V); 
74. L. Boulanger, Richelieu's litter. In the middle of the room is the 
famous table made in Guernsey by Victor Hugo, with four autographs and 
the four inkstands of Lamartine, George Sand, the elder Dumas, and V. Hugo. 
Desk with the inscription 'Vive, Ama', arranged by the poet for his friend 
Juliette Drouet. — The Librae? (on the left) contains 4030 volumes and 
5000 engravings, original drawings by V. Hugo on the walls, portraits of 
the poet by Rodin, Deviria, and Mauroi, as well as portraits of A. Dumas, 
Lincoln, and George Sand, given by them to him. In the centre, Sevres 
vase, presented to the poet by the nation in 1881. The silver crown on 
the left wall was presented by the city of Prague on the inauguration of 
the Victor Hugo Monument. 

Second Floor. — Vestibule. Sideboard, cabinet for liqueurs, and foot- 
stool arranged by V. Hugo for Mme. Drouet. The walls are adorned with 
china which belonged to the poet or Mme. Drouet. Pen-and-ink drawings 
by V. Hugo. — Room I. More than 5C0 original drawings by V. Hugo 
(Meurice and Koch collections); on the end-wall, 'Burg a la croix' drawn 
by V. Hugo in 1843, in a frame made by him during the sie^e of Paris in 
1870. — Room II (Salle Drouet). Panels, furniture, humorous drawings 
by V. Hugo which adorned the drawing and dining rooms at Mme. Drouefs, 
near Hauteville House (Guernsey). — Room 111 (on the left). More of the 
poet's drawings, and a double wardrobe from Mme. Drouefs. — Room IV 
or Mortuary Chamber, a replica of the room in the Avenue d'Eylau (now 
the Av. Victor-Hugo, p. 77) where the poet breathed his last: on the right 
is the bed; by the window, the desk, with inkstand, pen, and an auto- 
graph; beside it, the cabinet which contained his MSS. ; on the left wall, 
Victor Hugo on his death-bed, by Bonnat; over the fireplace, portraits of 
his children Georges and Jeanne. — On the landing, Bourgeois, Victor 
Hugo's houses in Guernsey and the Avenue d'Eylau. 

Third Floor. — Vestibule: Photographs of the poet's funeral. — 
Room I (on the left): Family portraits, including that of Mme. V. Hugo, 
by L. Boulanger. — Room H. 1st glass-case, plaster casts of V. Hugo's 
hands, also specimens of his hair at various ages; pens; bound volume 
of 'Les Chatiments' adorned with a golden bee from the imperial mantle 
of Napoleon III. 2nd case, autographs. To the right of the exit, Portrait 
of General Hugo, the poet's father; to the left, Bust (by V. Vilairi) and 
portrait (by Ghampmartin) of Mme. Drouet; portrait of Mile. Drouet, by 
Victor Hugo. — In the Coeridoe is RoWs Ovation to Victor Hugo; and 



HOTEL DES POSTES. Bight Bank 6. 193 

in tho Musee Populaire at the end are theatrical posters , small busts, 
pipes (effigies of the poet), etc.. 

The Rue du Pas-de-la-Mule, to the N.E. of the Place des Yosges, 
leads to the Boulevard Beaumarchais (p. 85), near the Bastille (p. 180). 
The But de Birague leads on the S. to the Rue St. Antoine (p. 179). 



6. Quarter to the N.E. of the Louvre, as far as the 
Boulevards (Place de la Eepublique). 

Metropolitan Stations (Lines 1 and 3; Appx., pp.29, 32, 33): Louvre 
(p. 90), Arts-et- Metiers (p. 197), Rue du Temple (p. 200). — Restaurants in 
this part of Paris, see p. £0. 

The N. portion of the Rue du Louvre (PL R, 20, 21 ; III) was 
laid out in 1888 (S. portion, between the Louvre and St. Germain- 
l'Auxerrois, see p. 91). It terminates at present in the Rue Etienne- 
Marcel, not far from the Place des Victoires (p. 207). 

The Hotel des Postes et Telegraphes (PI. R, 21; III), near 
here, occupies a detached quadrangle of immense size. It was rebuilt 
in 1880-84. The main entrance is in the Rue du Louvre, through 
a gallery, 55 yds. long, where all the offices dealing directly with the 
public are situated. Behind is the loading-yard, used by the post- 
vehicles, and, adjoining it, the yard where the vehicles are housed 
(the sculptured railing was designed by Bonin). The sunk floor ac- 
commodates the stamping-offices, the apparatus for the pneumatic 
post, and the stables ; on the first floor are the sorting and distribut- 
ing offices ; on the second, the diligence offices and official dwell- 
ings ; and on the third, the archives and stores. — ThePoste Restante 
and general inquiry offices are at the end of the gallery (Rue du 
Louvre entrance), on the right. The telegraph office is also on the 
right. — Postal regulations, etc., see p. 33. 

In the centre of the rear-facade of the post-office, in the Rue J. J. Rous- 
seau, a marble tablet commemorates the Edtel cVHervart, in which La 
Fontaine died (1695). J. J. Rousseau resided after 1770 in the N: part of this 
street, called at that time the Rue Platriere. 

In the adjacent Rue Gutenberg is the Hotel des Telephones, 
built of glazed bricks. — Opposite the post-office is the building 
occupied by the parcels post service (p. 34). 

About midway between the Post Office and the Louvre rises the 
Bourse de Commerce (PL R, 20 ; III), formerly the Halle au Ble or 
corn-exchange, converted to its present use in 1888-89 by Blondel. 
The nucleus is a spacious rotunda, dating from 1762-67, the dome 
of which was added after a destructive fire in 1811. Fronting the 
Rue du Louvre is a new facade, with four Greek columns, 65 ft. 
high, above which is a pediment with sculptures, by Croisy. The 
interior of the dome is embellished with frescoes of East, West, 
North, and South, by Clairin, Luminals, Laugee, and Lucas. The 
exchange is open daily, except Sun., from 9 to 6 (business- 

Baedekeb. Paris. 16th Edit. 13 



194 Right Bank 6. HALLES CENTRALES. 

hours 1-3). — In front, on the 8ther side of the street, is a 
fluted Doric Column, 100 ft. high and 10 ft. in diameter, a relic 
of the Hotel de la Reine (afterwards Hotel de Soissons) built "by 
Bullant in 1572 "by order of Catherine de Medicis on the site of the 
Bourse de Commerce. A staircase within the column ascends to the 
top where the queen is said to have made astrological observations 
in the company of Ruggieri. 

Those interested may visit the cold-storage rooms below the building 
(apply to the employe $ fee) which can accommodate 3000 carcasses of cattle 
and 20,000 sheep, besides quantities of game and fish. The ammonia 
freezing apparatus (by Linde) is in the lower chamber. Entrance opposite 
Rue de Viarmes 2. An overcoat should be worn. 

In the Rue Vauvilliers. behind the Bourse de Commerce, are a number 
of old shop-signs (No. 21, Au Panier neuri^ No. 23, 'A mon idee 1 , etc.). 

The Halles Centrales (PL R, 20, 23 ; III), not far to the E. of 
the Bourse de Commerce , a vast structure , chiefly of iron , and 
covered with zinc, were erected by the architect Baltard in 1851. 
These 'halls' consist often pavilions, each of which contains 250 stalls 
13 ft. square, which are let out at 20 c. per day. Between the pavilions 
run covered streets, 48 ft. wide and 48 ft. in height, intersected by 
a boulevard 105 ft. in width, descending towards the Rue de Rivoli. 
The six E. pavilions occupy a space measuring 180 yds. by 135 yds. 
Under the Halles are cellars 12 ft. high, divided into 1200 compart- 
ments; these are chiefly used for the storage of goods, etc.; some 
contain municipal electric motors. The front pavilions are occupied 
by retail - dealers , those behind "by wholesale merchants, whose 
"business also extends into the neighbouring streets in the early 
morning-hours. 

The best time for seeing the markets is in the small hours, the wholesale 
business beginning at 3 a.m. and lasting till 8 (in winter 4 to 9 a.m.). Huge 
as are the consignments of food disposed of here, both for home and foreign 
use, they by no means represent the total consumption, which is further 
swollen by the supplies passing through the various covered markets distri- 
buted over the city. 

To the S.E. of the Halles, in a square near the Boulevard de 
Se'bastopol, rises the Fontaine des Innocents. This graceful structure 
of the Renaissance period is due to Pierre Lescot; the older sculp- 
tures are by Jean Goujon. It was originally placed against the church 
of the Innocents (pulled down in 1783), and at that time had only 
three arcades ; but it was reconstructed in 1788 in the form of a 
square pavilion, on which occasion the naiads, the lion, and other 
ornamentations by Pajou were added. At the N.W. corner of the 
square, the facade of the office of Miles. Lingeres (1716), which had 
been taken from another building (of the Pompadour period) in the 
Rue Courtalon, near the Halles, has been re-erected. 

The Rue and the Square des Innocents occupy the site of the cemetery 
of that name, which dated from the time of Philippe Auguste. At No. 15 
in the street is a house of 1669, the groundfloor of which contains a 
number of vaults ('charmers') ; in these were placed (ca. 1870) the bones 
from the disused cemetery. — No. 3 in the Rue de la Ferronnerie, near by, 
is believed to be the house in front of which Henri IV was assassinated 
in 1610. 



ST. EUSTACHE. Right Bank 6. 195 

The *Church of St. Eustache (PL R, 21,20; III), situated at the 
Pointe St. Eustache, to the N.W. of the Halles Centrales and at the 
end of the Rue Montniartre and Rue de Turhigo, is one of the most 
important churches in Paris. Begun in 1532, probably "by Pierre 
Lemercier, and completed in 1642 from designs hy Ch. David, it 
presents, with the exception of the main portal with its Doric and 
Ionic columns (restored in 1774-88), which is due to Mansart de Jouy, 
a strange mixture of degenerate Gothic and Renaissance architecture. 
Over the transept is an open-work campanile known as the 'Plomh 
de St. Eustache'. The funeral rites of Mirabeau were solemnized in 
1791 in this church, whence his body was conveyed to the Pantheon 
(p. 283) ; and here was celebrated the Feast of Reason in 1793. In 
1795 the church was turned into a 'Temple of Agriculture'. Several 
eminent men, including Colbert (see below), Voiture, Benserade, 
Vaugelas, Marshal de la Feuillade, Admiral de Tourville, etc., lie 
buried here. It was entirely restored in 1846-54, and has recently 
been repaired. 

The Intekiok (entrance by the chief portal or hy a side-door near the 
Rue Montmartre) consists of a graceful and lofty nave and double aisles, 
and is 348 ft. in length, 144 ft. in width, and 108 ft. in height. Six of the 
chapels contain old frescoes (laid bare and restored in 1846). Those in 
the other chapels are modern. The 4th chapel contains a marble relief of 
the Marriage of the "Virgin, by Trigueti, and the 5th an Ecce Homo by JEtex 
(1857) and a figure of Resignation by Chatrousse. — In the S. transept are 
frescoes by Signol: on the right, The Resurrection, St. John, and Justice; 
on the left, Entombment, St. Luke, and Temperance. — At the end of the 
ambulatory is the Chapelle de la Vierge, added at the beginning of the 
19th century. Over the altar is a *Statue of the Virgin by Pigalle, which 
used to be in the Church of the Invalides. The frescoes (three representa- 
tions of the Virgin Mary) are by Couture. — The next chapel, with frescoes 
by Bizard, contains the monument of Colbert (d. 1683; see p.xvii), consist- 
ing of a sarcophagus of black marble, with a kneeling figure of Colbert 
in white marble, by Coyzevox. At one end is a statue of Abundance by 
Coyzevox, at the other end one of Religion by Tuby. — The five other 
chapels flanking the choir contain frescoes by Delorme , Basset, Perruz, 
Piehon (St. Genevieve), and F. Barrias (St. Louis). — The short N. transept is 
adorned in the same way as the S. transept : bas-reliefs by Devers; six statues 
of Apostles by Crauk and Eusson, and frescoes by Signol (Crucifixion, St. 
John, and Prudence on the right; Christ bearing the Cross, St. Luke, and 
Divine Power on the left). Above a benitier is a fine group of two angels 
and Pope Alexander I. (109-117), by whom the use of holy water was 
introduced. — Beyond the transept is the chapel of St. Eustace, who was a 
Roman general under the Emp. Titus, with frescoes by Le Hinaff. — The 
stained glass in the choir and apse was executed by Soulignac in 1631, 
from designs by Ph. de Champaigne. 

St. Eustache is perhaps the leading church in Paris for Religious Music 
which is performed with the aid of an orchestra on important festivals. 

The Rue de Turhigo (PI. R, 24; III), a handsome new street 
beginning at the Pointe St. Eustache (see above), crosses after about 
200 yds. the Rue Etienne-Marcel, in which rises the Tour de Jean 
sans Peur (Duke of Burgundy, 1371-1419), a crenellated tower with 
pointed arches of the 15th century. It was a later addition to the 
Hotel de Bourgogne (built in the 13th cent.), where the Confreres 
de la Passion (in 1548) and the Enfants sans Souci (in 1552) estab- 

13* 



196 Right Bank 6. ST. NICOLAS-DES-CHAMPS. 

lished their theatre. Comeille's 'Cid' and Racine's 'Andromaque' 
and 'Phedre' were here performed for the first time. It contains 
a handsome spiral staircase and a room with pointed vaulting. Visitors 
require a permit from the Secretariat d' Architecture (Hotel do Yille ; 
apply to the concierge of the school, Rue Etienne-Marcel 20, prefer- 
ably in the afternoon ; fee.) 

Farther on the Rue de Turhigo crosses the Boulevard de Se- 
bastopol (p. 84), then the Bue St. Martin and the Bue Beaumur 
(p. 208; Metro Stat., Appx., p. 32), and finally leads to the Place 
de la Bepubllque (p. 84). — Quartier du Temple, to the S., see p. 200. 

On the right, near the intersection of the Rue de Turbigo and the Boul. 
de Sevastopol, is situated the church of St-Leu-St Grilles (PI. R, 23; III), 
with a portal of the 14th cent, and a facade of 1727. This formed part of 
the abbey of St. Magloire, a convent for penitent women. The Chapelle 
des Fonts in the interior (on the right) is adorned with frescoes by B&zard 
and Desgoffe. In the Chap, de laVierge: St. Gilles discovered in his retreat 
by the King of the Goths (by Monvoisin). Passage leading to the sacristy, 
on the right : Scenes from the life of Christ (marble reliefs). On the triumphal 
arch, frescoes by Cibot. The choir was restored in the 19th century. 

We now turn into the Rue St. Martin, which leads to the N. to 
the Porte St. Martin (p. 84). At the corner of the Rue Re'aumur, to 
the right, is — 

St. Nicolas-des-Champs (PI. R, 24 ; III), a Gothic church, which 
was enlarged in the 15th cent., with a square tower. The handsome 
S. portal, in the Renaissance style, designed by Ph. Delorme, was 
added in 1576. The choir is of the same period. The high-altar-piece 
is an Assumption by Vouet. The woodwork of the organ is also 
worthy of mention. Paintings have recently been discovered in the 
collateral chapels of the choir. 

In the Rue St. Martin, opposite the church of St. Nicolas-des-Champs, 
is one of the principal entrances to the vast network of Sewers (Egouts) 
by which Paris is undermined, the other chief entrance being on the Quai 
du Louvre near the Rue du Louvre (p. 90). The sewers are shown to the 
public generally on the second and fourth Wed. of each month, from the 
first Wed. after Easter to the second Wed. in October (inclusive). Written 
application should be made in advance to the Prifet de la Seine, mention- 
ing the number of visitors and enclosing a stamp for the reply, which 
will determine the time and place of starting. If pressed for time, personal 
application should be made at the office of the Chief Engineer des Eaux 
et de TAssainissement, Place de l'Hotel-de-Ville 9. The tours of inspection, 
in which ladies need have no hesitation in taking part, are timed to start 
at 1, 2.15, and 3.30 p.m. Punctual attendance is essential, and visitors will 
do well to provide themselves with an extra wrap. The visit lasts about 
1 hr. and is made by means of cars and boats worked by electricity. The 
end and intermediate stations are brightly lit by electric light. The itinerary 
traversed and the sewers which run through it are indicated by numerous 
descriptive plates. 

The total length of the network of sewers of Paris is now about 890 M. 
The two main sewers run at right angles with the Seine, under the Boul. de 
Sevastopol and the Boul. St. Michel respectively. The main basin is situated 
below the Place de la Concorde, whence the Collecteurs Giniratix conduct 
the water to Asnieres and Clichy to be there used for irrigation (p. 340). 
The largest sewers are 16 ft. high by 18-20 ft. wide. The 'collecteurs , are 
flanked with pavements or ledges, between which the water runs, and are 
cleansed in the following manner. There are boats or waggons of the same 



R XL 



y a. 



M acniite s ( P. 1 et a £ e 
m Prevention- des accidents (rez-de-cli. 



reventLoiL 

rez-de-clU 




Wk|iuer &Debes .Leipzig. 



ARTS ET METIERS. Right Bank 6. 197 

width as the channel, each provided with a vertical gate or slide, which 
when let down exactly fits the channel and causes the boat to be propelled 
forward by the force of the stream , scraping clean the bottom and sides 
of the sewer as it advances to the outlet. 

Beyond St. Nicolas, between the Rue St. Martin and the Boul. de 
Sevastopol, is the pleasant Square des Arts et Metiers (PL R, 
24; III). In its centre rises a column surmounted by a Victory in 
bronze, by Crauk, with a pedestal bearing the names of the Crimean 
victories (1854-55). On each side are small basins, adorned with 
bronze figures. A statue (by M. Moreau) is to be erected here to 
Th. Z. Gramme (1826-91), improver of the electric dynamo. On 
the S. side of the square is the Theatre de la Qaiti (p. 40), built 
in 1862. 

The Conservatoire des Arts et Metiers (PL R, 24, III; Metro 
Stat.) was founded by decree of the Convention in 1794. The first 
idea of such an institution is attributed to Descartes (1596-1650), 
and it was put in practice in 1775 by the celebrated engineer 
Vaucanson, who bequeathed to the state in 1783 his collection 
of machines, instrument?, and tools, for the instruction of the work- 
ing classes. The museum is combined with a technical school, the 
classes in which are free. 

Since 1799 the collection has occupied the former Cluniac Priory 
of St. Martin- des- Champs, built in 1060 on the site of an earlier abbey 
(destroyed by the Normans) and secularized in 1789. The building 
was restored and completed in 1845. The former church and re- 
fectory are the most interesting of the extant ancient parts. One 
of the towers of the fortified enceinte has been re-erected to the left 
of the facade towards the Rue St. Martin. Beside this tower is the 
Fontaine du Vertbois, dating from 1712 (restored in 1886). — The 
facade of the former church (p. 198) may be seen from the Rue 
St. Martin, through the railing. In front of it is the Monument of 
Boussingault (1802-1887), the chemist and agricultural writer, con- 
sisting of a bust on a pedestal preceded by bronze statues of Science 
and an Agriculturalist, by Dalou. 

The entrance is in the Cour d'Honneur, Rue St. Martin. The 
monumental platform in front is a modern addition. Beside the first 
staircase, to the right, is a bronze Statue of Pap in (1647-1714), 
discoverer of the elasticity of steam, by Millet ; to the left, one of 
Nic. Leblanc (1742-1806), the inventor of the process of extracting 
soda from sea-salt, by Hiolle. 

The old Refectory (13th cent.), to the right of the main court, a 
beautiful Gothic hall with aisles, is attributed to Pierre de Montereau, 
the architect of the Sainte-Chapelle (p. 262). It is decorated with 
paintings by Gerome and Steinheil. The Library (over 50,000 vols.) 
which it contains is open on Sun., 10-3, and on week-days, except 
Mon. and holidays, 10-3 and 7.30-10 p.m. The former Church, a 
little beyond, the view of which is still obstructed on tbis side, is a 
remarkable structure of the ll-13th cent. (p. 198). 



198 Eight Bank 6. ARTS ET METIERS. 

The Museum, which is entered from the platform in the Cour 
d'Honneur (22 steps up and 22 down], is open in winter on Tues., 
Wed., Thurs., and Sat. 12-3, Sun. 10-4; in summer Tues., Wed., 
and Sat. 12-4, Sun. and Thurs. 10-4. Parcels, hut not sticks and um- 
brellas, must he left (no fee). — The exhibits afford an insight into 
the different phases of construction of machinery, etc. A.U the 
articles, which are as far as possible chronologically arranged, bear 
explanatory labels. The accompanying plan will enable the visitor 
to choose his own course; but changes are not infrequent and the 
museum is about to be completely reorganized. Catalogue (1905) 
of the Physical Section iy2? Mechanical Section o 1 /-? fr. Curator, 
M. G. Tresca. 

Ground Floor. Salle 1, or ''Salle de VEcho', contains a fine collection 
of Siberian jade and graphite, illustrating the numerous industrial appli- 
cations of the latter mineral; model of a screw-steamer; various busts. The 
acoustic properties of the Salle de TEcho resemble those of the Whispering 
Gallery at St. Paul's in London: words spoken quite softly in one corner 
of the saloon are distinctly audible in the angle diagonally opposite. — We 
enter, on the right, the — 

S. Side of the Central Building (1S t . side, see p. 199). Salle 1 (Mining). 
In the centre and to the right and left are models of mines ; tools, machinery, 
and apparatus for sinking mines. Round the room, specimens of minerals. 
— Salles 2-6 (Metallurgy). Salle 2 (to the right of Salle 1). Model of 
the iron-works of Creusot; models of artillery, etc. — Salle 3 (next S. 1). 
Iron and steel rolling-mills and forges, etc. — Salle A. At the windows 
on the right and left, Steam-bellows, smelting and puddling furnaces (iron 
and steel). Window - walls, Zinc -furnace, trophy showing the different 
stages in the manufacture of nickel, steam-hammers, etc. Similar hammers 
opposite the windows, also minerals. — Salle 5 (parallel to S. 3). Apparatus 
for soldering and welding tyres and other iron- work. In a corner by the 
right wall is the 'Livre dOr' of the Franco-Russian alliance, by P. Des- 
champs (a collection of gold and silver medals). — Salle 6 (to the right). 
Fused, forged, and rolled metals; to the right, models of workshops 
(plumbing," nail making, silversmith's, etc.). — "Salle 7 (next S. 4). Wood 
Industries. 

The Former Church, which we enter next, has a choir in the Transi- 
tion style and a Bomanesque apse (1113th cent.). It now contains Machinery. 
At the entrance to the choir are a Foucault's pendulum (see p. 285) and 
a glass globe about 5 ft. in diameter. In the choir, Cugnot's steam-carriage 
(1770); locomotives; metal bridges; drags; locks; models, etc. 

South Gallert (to the right as we return). Agriculture. Valuable 
collection of ploughs and other agricultural implements; heads of cattle; 
anatomical specimens ; samples of grain and fruit (to the left of the entrance). 

Galeeies Vaucanson (looking on the Rue Vaucanson), occupied since 
1905 by a collection illustrating the Prevention of Accidents to Workmen and 
Industrial Hygiene. Gallery 1. Industrial hygiene: baths; disinfecting 
stoves; sterilisation of water and milk; prevention of fire. — Central 
Room. Prevention of accidents: 'Mulhouse frame' showing the earliest 
expedients for fencing machinery devised by Engel-Dolfus. In the small 
adjoining rooms are medical appliances for accidents; mecanotherapeutic 
system of Dr. Courtault, etc. — Gallery II. Bust of Engel-Dolfus. Machinery 
in motion, with devices for preventing accidents painted red and those for 
the protection of health painted blue. 

North Gallery. Constructions Civiles, Oiomitrie Descriptive. Salle I. Build- 
ing materials and tools. — Salle II. Hydraulic works (bridges). — Salle III. 
Timber-work and frames; stonecutting. — Salle IV. Geometry and per- 
spective ; instruments and apparatus for drawing. — Salle V. Veneering-vvood, 



ARTS ET METERS. Eight Bank G. 199 

marbles, locksmith's tools, etc. — Parallel Corridor. Kilns; models of a 
drill, dredgers, and excavator. — Salle VI and adjacent corridor. Geodesy 
and Horology. 

N. Side of the Central Bdilding. The lofty gallery which comes 
next is also devoted to Geodesy and Horology, in addition to Astronomy. 
Clocks in fine 18th cent, cases. — The last room, on a 'lower level, by the 
staircase ascending to the textile and spinning section (see below), contains 
Weights and Measures, ancient and modern, French and foreign; mathe- 
matical measuring-apparatus. 

First Floor. On the landing, opposite the entrance, Statue of Isis Un- 
veiled, by A. Allar. — Salle d'Honneur, at the top of the staircase. Ap- 
paratus made by Lavoisier, the chemist (see p. 76), or used in his laboratory, 
original machines and apparatus, by Vaucanson, Watt, and others. Pascal's 
calculating machine; ancient and obsolete apparatus. A case in this room 
contains the first metric standards made when the metric system was intro- 
duced; types of the cubic decimeter, litre, and kilogramme. 

S. Side of the Central Building (on the right as we proceed). Mechanical 
Recipients of force, such as wind-milis, water-wheels, turbines, etc. Steam 
Engines and parts of machinery. Railway Collection, including a model of 
the first locomotive with a tubular boiler, constructed by Marc Sc'guin in 
1827. — Last Room: Mechanics. Apparatus for demonstrating the laws of 
gravity, etc. 

The staircase adjoining this room ascends to the Second Floor (see 
below), which may be conveniently visited next. 

South Gallery. General Physics. Hydrostatic instruments, densimeters, 
hydrometers. Apparatus for the investigation of fluid and gaseous bodies; 
thermometers; static electricity (magnets); electrometers. — Room at the 
end : Meteorology. 

Galeeies Vaucanson. Passage and Room I. Acoustics, Optics, Tele- 
graphy, and Telephony. Edison phonographs, graphophones, etc. — Central 
Room. Turning -lathes and other machine-tools. Several machines by 
Vaucanson. — Gallery II. Tools and Machine Tools; motors, pumps, hydraulic 
machines. The last room on this side and the — 

North Gallery contain- Glass and Pottery. Room III. Pottery. 'Coupe de 
Travail 1 , a large vase in Sevres porcelain designed by Dieterle, and a porcelain 
statue of Bernard Palissy. — Room IV. Chemical Arts. Manufacture of 
chemicals; dyeing and printing of textile fabrics and of wall-papers. 

1st North "Wing. Rooms I and III (Papeterie). Papermaking, etc. — 
The windows to the right afford a view of the old fortified enceinte of 
the abbey. — Rooms IV and V. Typography, Engraving, and Lithography. — 
Room VI. Photography. 

N. Side of the Central Building, as we return towards the grand 
staircase. Industrial Chemistry. Brewing (on the left) ; soap-boiling; candle- 
making, etc.; distilling. 

2nd North Wing, on the left as we return to the middle of the previous 
gallery. Spinning and Weaving. — Section 1. Raw materials; tools and 
machines for the preparation of textile fabrics. — Section 2. Spinning 
and weaving looms; in the middle, to the right, Vaucanson's Loom (1745), 
intended to supersede the earlier looms in weaving cloth with patterns. 
To the left, model of Jacquard's Loom (1804). Specimens of woven fabrics. 
On the right, towards the end, by the windows, knitting and lace-making 
looms. — Section 3. Silk fabrics; velvet; tapestry from the Gobelins and 
Beauvais. 

Second Floor (staircase, see above). Hygiene, Heating, Lighting. Room I. 
Heating-apparatus; cooking stoves; ventilation, etc. — Room II. Electric 
machines and electric lamps. — Room III. Calculating machines; dynamo- 
meters, etc. — Room IV. Photographic views of Italy, Greece, etc. ; photo- 
meters. 

The building to the N. (left) of the principal entrance contains the 
Portefeuille Industriel (open daily, 10-3, except Mon.), where drawings of 
the newest machinery are exhibited for copying or study. The plans 



200 Right Bank 0. QU ARTIER DU TEMPLE. 

and specifications of expired patents are deposited and trade-marks are 
registered here. — On the Conservatoire des Arts et Metiers devolves also 
the inspection of weights and measures, and it includes farther a depart- 
ment for testing the resistance of varum? materials. 

The EcoU Central* des Arts et Manufactures (PI. R, 24; 111), 
behind the Conservatoire, to the E., admits pupils by competitive 

examination and trains them for three years, at the end of which tint 
they are fitted to become engineers, factory and works managers, etc. 



The Quartier du Temple (PI. R, 23. 26, 24, 27; 111) extends to 
the S. of the E. section of the Rue de Turbigo, and owes its name to 
the chief stronghold of the Knights Templar in France, - * hich passed 
to the Knights of St. John when the possessions of the Templars were 
confiscated by Philippe le Bel in 1312. Part of it, the Tour du Temple, 
was the prison of the royal family in 1792 and 1793. Napoleon I. 
pulled down the tower in 1811, and the remainder was done away 
with under Napoleon 111. — Me*tro Station, Appx., p. 33. 

The site of the Temple is now occupied by a square and a few 
remains of the Marehe du Temple (see below). The Square, du 
Temple is embellished with five bronze statues; Beranger (1780- 
1857), by Doublemard; the 'Retiarius', by Noel; 'This age is piti- 
less', by Schoenewerk; the Harpooner, by F. Richard: and Diogenes, 
by Marioton. The handsome modern building at the E. end is the 
Mairie of the 3rd Arrondissement (du Temple). 

The mansion (luiilt in 1667) which used to stand in front of the tower 
was the scene of Philippe de Yemlonie's celebrated supper-parties, at which 
the witty Abbe de Chaulieu (1639-1720), the 'Anacreon of the Temple', was 
a frequent guest. In 1765 the Prince de Conti gave refuge in the Temple 
(which was inviolable) to J. J. Rousseau, against whom a "'lettre de cachet' 
had been issued. — The March,! du Temple was at one time important, and 
its stalls of cast-off clothing lent it a picturesque air. It has been demolished, 
with the exception of the portion between the Rues Dupuis and Perrte 
and the Rue de Pieardie. 

To the right, between the Rue du Temple and the Rue de Tur- 
bigo, is the church of St. Elizabeth, founded in 1628 by Marie de 
Medicis and enlarged in 1826. The fonts in white marble, to the 
right of the door, date from 1654. The small cupola of the choir 
is adorned with an Apotheosis of St. Elizabeth, by Alaux, and there 
are paintings by Biennoury, Hesse, Roger, and Lafon, in a chapel 
to the left of the entrance. There are also some good paintings in 
the ambulatory, but the chief feature is the fine wood-carvings of 
Biblical scenes (^iOth cent.), which were brought from the church of 
St. Yaast at Arras. — The prolongation of the Rue de Turbigo to the 
Rue du Temple has caused the disappearance of the Hotel du Marquis 
de l'llospital, which was the Garden of Paphos under the Directory. 

The Rue du Temple leads towards the Hotel de Ville (p. 175). 
We follow it as far as the (10 min.) broad Rue de Ramluleau, lead- 
ing on the right to the Hallos Centrales (p. 194). and on the left to 
the Archives Nationales (p. 183). 



201 

7. From the Louvre and the Palais-Royal to the Boule- 
vard Montmartre and the Boulevard des Italiens. 

MftTiioroLiTAiN Stations (Lines 1 and 3 ;Appx., pp. 29, 32): Flare du 
Palais-Royal (p. 90), Place de la Bourse (p. 20 J >). — Restaukants in this 
part of Paris, see p. 20. 

Situated immediately to the N. of the Palais-Royal is the Biblio- 
theque Nationale (see below). It is entered from the Rue de Richelieu 
(PI. R, 21 ; //, III), which begins at the Place du Thtfatre-Francais, 
and passes on the W. side of the Palais-Royal. At the corner of the 
Rue de Richelieu and the Rue Moliere is the Fontaine Moliere, erected 
in 1844 to the memory of the famous dramatist, who died in 1673 at 
No. 40 Rue de Richelieu (tablet). The monument was designed by 
Visconti; the statue of Moliere is by Seurre, while the museB of 
serious and light comedy are by Pradier. 

At No. 39 Rue de Richelieu a tablet indicates the house where Diderot 
died (see pp. 87, 296); No. 23 tjiB i3 similarly designated as the death-place of 
the painter Mignard (in 1695). No. 25 is a charming building in the Louis XV 
style, the balcony adorned with a grotesque. 

After crossing the Rue des Petits-Ohamps (on the right the statue 
of Louis XIV, p. 207) we skirt the W. side of the Bibliotheque Natio- 
nale, opposite the principal entrance to which (farther on) is the *Fon- 
taine Richelieu, or Louvois, in bronze, by the younger Visconti, with 
statues by Klagmann representing the Seine, the Loire, the Garonne, 
and the Saone. It stands in the small Square Louvois, on the site of 
the old Grand-Opera, which the Due de Berry, son of Charles X, 
was about to visit in order to applaud the dancing of his mistress, 
Virginie Oreiller, when he was assassinated by Louvel, in 1820. 

The *Bibliotheque Nationale (PL R, 21; IT), formerly called 
the Bibliotheque du Roi, and afterwards the Bibliotheque Royale or 
Imperiale, is probably the richest library in the world. The building, 
which was formerly the palace of Cardinal Mazarin (d. 1661), dates 
from the 17th cent., though the greater part of it is modern. On the 
. completion of the portion in the Rue Vivienne it will occupy nearly 
the entire block of buildings bounded by the Rues de Richelieu, des 
Petits-Champs, Vivienne, and Colbert. The handsome facade with 
its court and railing, which we notice from the Rue Vivienne, and the 
frontage on the Rue des Petits-Champs both belong to the edifice. 
At the corner of the building at the junction of the Rues Vivienne 
and Colbert is a figure of Study, by Barrias. 

The library may, perhaps, be dated back even to the MSS. collected 
by the Carlovingians. St. Louis (d. 1270) had a library in a side-chamber 
of the Sainte-Chapelle (p. 262). More important was the collection of 
Charles V, which was inventoried in 1373 but was sold to the Duke of Bed- 
ford in 1425. The real founder of the present library may be recognized in 
Louis XII {A. 1515), who collected the books of his predecessor, Charles VIII, 
in the Chateau of Blois, and acquired the libraries of the Sforza of Milan 
and of the Gruuthuuse family of Bruges. Francis I. (d. 1517) removed the 
collection (consisting of 1890 vols.) to Fontainebleau and busied himself in 
its enlargement, entrusting it to the care of Guillaume de Budc (Bud&'US; 
p. 203). It was he who decreed that a copy of every work printed in France 



202 R. Bank 7. BIBLIOTHEQUE NATIONALE. 

should be furnished to the royal library, though it was some time before 
this requirement was properly observed (later two copies were prescribed). 
Subsequently the library was removed to Paris. Henri IV (d. 1610) deposited 
it in the suppressed Jesuit College de Clermont, and used the proceeds of 
the confiscated property of the Order to provide the books with handsome 
bindings. Under Louis XIV (1643-1715) the library was greatly enlarged by 
the purchase of the collections of Dupuy (9000 vols.), Mentel (10,000 vols.), 
Gaston d'Orleans, and others. In 1724, in the reign of Louis XV, the 
library was finally, on the suggestion of the librarian Abbe" Bignon* ac- 
commodated in the present building. At the Revolution the books of the 
religious orders were united with the National Library. The library is 
constantly receiving additions, either by way of gift or purchase, and now 
contains upwards of 3,000,01)0 volumes. The General Catalogue has been 
carried as far as the middle of the letter C only (24 vols.), and is added 
to at the rate of 4 vols, per year. Other catalogues, see pp. 203, 204. — 
Chief Librarian, M. Henri Marcel. 

The Bibliotheque Nationale is divided into four departments: 
(1) Printed Books and Maps (Imprimis et Cartes),- (2) MSS. (Manus- 
crits); (3) Engravings (Estampes); (4) Medals and Antiques (Me- 
dailles et Antiques). 

The Salle Publique de Lecture (public reading room ; entrance 
by the Rue de Richelieu, opposite the square) is open on Suu. from 
9 till 4, on other days from 9 a.m. till 4, 5, or 6 p.m. (according to 
the season). The Salle de Travail des Imprimes (hall for study; 
entrance in the Rue de Richelieu) is open at the same hours, ex- 
cept on Sundays, holidays, and the two weeks before Easter; it is 
reserved for persons provided with a reader's ticket by the 'admi- 
nistration' (p. 203). 

The Salle de Travail contains seats for 344 persons. On entering the 
visitor receives a slip of paper ('bulletin personnel'), on which he writes 
his name and address and the number of the seat he has selected. At the 
bureau, in the middle of the room, he receives smaller slips, which he 
fills in with the titles of the books desired and then returns, along with 
the larger slip, to the librarians. He then waits till the books are brought 
to him. No applications are received within one hour of the hour of 
closing. On returning the books the reader receives the 'bulletin personnel 1 
back, stamped and bearing the titles of the books. He gives it up to the 
official at the exit. The general catalogue and the catalogue of the ac- 
quisitions since 1882 are to be found in the cases to the right (according 
to the names of the authors) and left (according to the subjects) of the' 
bureau. There are also various special catalogues. For further details 
see the notices affixed to the doors of the different saloons. Works of 
general utility which may always be consulted are ranged round the room. 
On a special table near the bureau of the Salle de Travail, to the left, lie 
periodicals, reviews (about 40), reports, scientific publications, etc. —Visitors 
are not permitted to quit any of the Salles with books, papers, or port- 
folios in their hands, without a 'laissez-passer' from one of the librarians. 
— Foreign scholars and students, who must produce a recommendation 
from their consul or ambassador, receive the most cordial reception and 
assistance. 

The Salles de Travail des Manuscrits et MMailles and des Carles et Col- 
ections Oiograjohiques are open daily (except Sun.) 10-4, on similar conditions. 

The most interesting books, MSS., bindings, engravings, and 
medals are exhibited in special rooms, to which the public is ad- 
mitted free on Monday and Thursday, 10-4. 

Under the archway leading from the Rue de Richelieu to the 
principal court (Cour d'Honneur) are statues of Printing, by Labatut. 



B1BL10THEQUE NATIONALE 



2 a e 



l~b e> -r t/ 




e s T e t its C Tv w uv ~p 



d' acres J.L.Pascal 



GrsrYT? etxntDTtme "Dar "Wa frier h Debes. leipzi£. 



BIBLIOTHEQUE NATIONALE. R. Bank 7. 203 

Writing, by Coutan, Copper-Plate Engraving, by J. Hugues, and Die 
Cutting, by J. Becquet. In the middle, directly in front, are the 
offices of the Administration. To the right is a short flight of steps 
ascending to the lower vestibule, where a Sevres vase, designed by 
the sculptor J. Cheret (1879), has been placed to commemorate the 
share of the French savants in the observations of the Transit of 
Venus in 1874. Opposite the entrance is the Salle de Travail des 
Imprimes (p. 202). To the right is a small refreshment room (mo- 
derate prices) ; on the left is the vestiaire. At the end of the vesti- 
bule, to the left, is the staircase leading to the first floor. To the 
right is the entrance to the — 

Departementdes Estampes, which contains more than2,500,00Q 
plates bound up into volumes (14,500) or arranged in portfolios 
(4000). A number of the most interesting are exposed to view at 
the same hours as the printed books and manuscripts (comp. p. 202). 

The staircase ascends to the upper vestibule , containing the 
drawings made during Napoleon's expedition to Egypt (1798) and 
some Phoenician inscriptions. Facing the staircase is the small 
Galerie des Charles. To the right is the department of MSS. 
(nearly 102,000 volumes). To the left are the department of Maps 
(Cartes) and the — 

*Salles d'Exposition des Impbimes et des Manuscrits. 
These contain the chief treasures of the library, many of them beau- 
tifully illuminated and magnificently bound. The second, the Galerie 
Mazarine, belonged to the original palace of Card. Mazarin. All the 
objects are labelled (catalogue, 1881, 3fr.). 

Room I. In the centre , the French Parnassus , a group in bronze 
representing the chief French authors and artists of the 17th cent. , by 
Louis Gamier. The walls are hung with Gobelins tapestries, after Ehrmann. 
In the glass-cases I-III and V, superb Bindings, with the arms of the kings 
of France from Francis I. downwards. In Case IV, by the window: 369. 
'Christianismi Restitutio 1 , by Michael Servetus, a copy which was saved 
from the flames when the author was burnt at the stake in Geneva (1553) 
by order of Calvin*, works with autographs of Rabelais, Montaigne, and 
Racine ; manuscript music by J. J. Rousseau (376. MS. score of the 'Devin 
du Village 1 ). 

Room II, the * Galerie Mazarine, has a fine ceiling-painting by Romanelli 
(1617-62), representing scenes from classical mythology and history. On the 
walls are busts of Budseus (see p. 201), De Thou (Thuanus), the historian, 
Colbert, Mabillon, etc., and Kings Francis I., Charles V, and Louis XIV. 

The first half of the saloon contains Printed Volumes and Bindings (early 
examples from France, Holland, Italy, Spain, and Germany). — In Case IX 
are a copy of the Mayence Bible (1462), and a psalter by Fust and Schoffer 
(1462; below). — Case VI, in the middle of the room, contains bindings, 
made for the Kings of France and celebrated bibliophiles. Many are from 
the library of Jean Grolier (d. 1565), who introduced the Italian style of rich 
bindings into France. 198. Polyglot Bible, by Chr. Plantin (Antwerp, 1569-73) ; 
282. Latin Bible, by Robert Stephens (Estienne h 1538-40), etc. — XXVII-XXIX. 
In the centre: books printed in Paris, some with splendid miniatures i 
bindings (above). In Case XXIX, Copy of the Mazarin Bible, dated 1456 
and perhaps from the press of Gutenberg. 

Second half of the gallery : MSS. and Bindings. Cabinet X (to the 
right): 1. Portrait of Jean II, le Bon, on wood (14th cent.); below, 4. Roll 
with the oldest catalogue of the library (1373). — XI. French palaeography 



204 B. Bank 7. BIBLIOTHEQUE NATIONALE. 

from Charlemagne to the middle ages. In the centre, 179. Nithard's History 
(end of the 10th cent.), containing the text of the oath taken by the sons of 
Louis le Debonnaire, the oldest monument of the French language (842) ; 
187. Album of Vilars d'Honecort, the architect (13th cent.); 191 (below), 
Acta of the Templars 1 trial of 1309 ; 196. Acta of the trial of Joan of Arc. — 
XII. Palaeography of Italy, SpaiD, England, and Germany from Charlemagne 
to the end of the middle ages : 139. Genoese Annals of Caffaro (12- 13th cent.); 
141. Petrarch's 'De viris illustrious 1 (14th cent.); 147. Dante's 'Divina 
Commedia' (14th cent.). — XIII. Latin palaeography, from antiquity to the 
Carlovingians : 102. Livy (5th cent.). — Case containing wax tablets with 
accounts of the 13-14th centuries. — XIV. Ancient Mexican MSS., illustrated. 

— XV. Oriental and American MSS. — XVII. Greek MSS. — XIX. Illu- 
minated MSS. — XX. MSS. formerly belonging to kings and queens of 
France: 222, 224, 223. Gospels of Charlemagne, Louis le Ddbonnaire, and 
Lothaire. — XXX, XXXI. Sumptuous bindings of the middle ages, adorned 
with ivory, jewels, etc. — XVI-XVIII, XXXII. Autographs. 308. Mary Stuart; 
303. Du Cuesclin; 339. Henri IV; 342. PascaVs 'Pense'es sur la Religion 1 ; 
344. Bossuet ('Sermons'); 345. F&nelon ('Telemaque 1 ); Rousseau; Voltaire; 
Mme. de SMgne" ; Mme. de Maintenon; Racine; Moliere; Corneille; Montesquieu. 

The *Cabinet des Medailles bt Antiques (admission, see 
p. 202) has an entrance of its own in the Rue de Richelieu, the door 
beyond the police-station when approached from the Boulevards, 
and the first when approached from the Palais-Royal (visitors ring). 
It contains an extensive collection of Medals (150,000) and Antiques, 
comprising gems, intaglios and cameos, small works of art, glass, 
vases, arms, and other curiosities. Illustrated guide to the Medals, 
etc., by E. Babelon (1900, 31/2 &.). Illustrated catalogue to the 
Painted Vases, by A. de Ridder, 2 vols., 30 fr. The arrangement of 
the exhibits is sometimes changed, and the collections are eventually 
to be transferred to the new building in the Rue Vivienne (p. 201). 

Vestibule. On the wall at the back: Zodiacal Monument from the 
Temple of Bendera, Egypt, a work of the Roman empire. On the left, 
Chamber of the Kings from Karnak, constructed by Thutmosis III. (18th 
dynasty; see p. 107), with important inscriptions. 

On the Staircase and in the Anteroom (if closed, visitors ring) at the 
top: Cinerary urns, steles, and Greek, Latin, Coptic, and Phoenician in- 
scriptions. — On the left is the — 

Grande Galerie. The glass-cases in the centre are subdivided into 
sections, from left to right. Case I. Cylinders with cuneiform inscriptions, 
and cut gems from Assyria , Chaldsea, and Persia ; also antique intaglios. 

— Case II. Intaglios and cameos of ancient, mediaeval, Renaissance, 
and modern times, most of them in sardonyx and of considerable artistic 
value. Some of them are in settings of enamelled gold, dating from the 
time when they were regarded with veneration as religious amulets. 
Among others : 2nd Division, *1815. Achilles playing the lyre, in amethyst, 
signed Pamphilos, a Greek artist; beside it, 1815bis. Achilles dragging the 
body of Hector (in red jasper). 7th Division (centre), 2391. Jupiter enthroned, 
between Mars and Mercury, with Xeptune below, and the signs of the 
Zodiac surrounding them (in cornelian). On the right, 2396. Abundance and 
Peace, crowned by two genii, in sardonyx ; on the left, 2405. Medallion of 
Csesar; 2404. Jugurtha delivered to Sulla (cornelian); 2338. Triumph of 
Silenus (blood-jasper); 2337. Cornelian with Bacchanalian device, said to 
have been used as a seal by Michael Angelo (?); although barely more 
than V2 in. square, fifteen human and three animal figures are engraved on 
it. 8th Division, Engraved portraits by Guay, engraver to Mme. Pompa- 
dour; cornelian seals. — Case III. Cameos (mythological and religious 
subjects): 1st Division, 402. Analogies of the Old and New Testaments, end 
of the 15th cent. ; 405. Adoration of the Magi (15th cent.). 612. Fountain 



BIBLIOTHEQUE NATIONALE. R, Bank 7. 205 

of Wisdom; below, alleged Bracelets of Diana of Poitiers, each composed 
of one large and seven small cameos, Renaissance. 2nd Division, 595. 
Negro king, 765. Heliogabalus. 4th Division on the other side, 780. Francis I. ; 
926. Louis XV, by Guay; 944. Seal of Louis XV, with portrait of Mme. 
de Pompadour inside; below, 927, 788. Louis XV and Henri IV in an 
emerald setting, from a bracelet of Mme. de Pompadour; 786. Henri IV; 
789. Henri IV and Marie de Midicis; 977. Charles V and Ferdinand I.; 792. 
Louis XIII; 925. Louis XIV. 

Case VI, at the window. Antique cameos. 1st Division : On the left, 
above, *226. Alexander the Great, with Athena ; in the centre, *220. Alexander 
the Great, with helmet, translucent agate in a magnificent 18th cent, mount- 
ing of enamelled gold; below, ''265. Apotheosis of Germanicus; above, 276. 
Claudius and Messalina, as Triptolemus and Ceres, in a chariot drawn by 
two dragons. On the right, from top to bottom : 243. Julia, daughter of 
Augustus, with the attributes of Ceres ; 277. Messalina with her children. 
On the left, from bottom to top: *300. Septimius Severus and his Family; 
*289. Trajan; 270. Claudius; *251. Tiberius; 244, 242. Julia, daughter of 
Augustus. — 2nd Division (in the centre) : *1. Jupiter, one of the most 
valuable cameos in the collection, with a magnificent mounting of the 
14th cent. ; below, "27. Dispute between Minerva and Neptune; above, 
*11. Juno of Argos. To the leff, *17. Minerva; *115. Amphilrite on a marine 
monster; *148. Horses of Pdops(1); 31. Diana; 7. Ganymede restored to his 
father by one of his brothers. To the right, 97. Centaur; e 184. Bull; 111. 
Mercury; 41. Apollo and Marsyas; 43. Venus in the bath. 

Case IV, in the centre of the hall, contains the greatest treasures of 
the collection. Above, from right to left (window -side), 363. So-called 
Cup of the Ptolemies, a cantharus in oriental sardonyx with reliefs, re- 
presenting the mysteries of Ceres and Bacchus, from the treasury of the 
Convent of St. Denis; twelve antique gold medals, some mounted as jewels. 
No number, * Pater e de Rennes, a cup of massive gold, found near Rennes 
in 1774, with reliefs representing the drinking -contest of Bacchus and 
Hercules (triumph of wine over strength), and bordered with sixteen 
medallions of Roman emperors of the family of the Antonines; below, 
gold ornaments (probably Etruscan); 379. Cup of Chosroes II., king of 
Persia (d. 579), composed of medallions of rock-crystal and coloured glass, 
with Chosroes enthroned in the centre (seen better from the reverse side), 
also from the treasury of St. Denis, where it was known as the 'Cup of 
Solomon'' ; 309. Bust of Constantine the Great (?), in sardonyx (part of a sceptre; 
used formerly as a conductor's baton in the choir of the Ste. Chapelle); 
to the right and left of this bust, small busts of Augustus and Annius 
Verus, in agate; below, 480. Trisor de Tarse, four gold medals; 351. An- 
tique necklace and Roman medals, in gold; 2539,2540. Trisor de Gourdon, 
a small paten and chalice of massive gold (6th cent.), found at the village 
of Gourdon (Cote-d'Or), dating from early Christian times. Below, 2781. 
Augustus, antique cameo in mediaeval setting. 264. "Apotheosis of Germanicus 
( l Camee de la Ste. Chapelle' 1 ), the largest cameo in the world., consisting 
of a sardonyx nearly 1 ft. in height, with twenty-six figures. * Medal of 
Eucratides, Greek king of Bactriana (ca. B.C. 200), weighing 20 staters or 
5'/2 0z. Troy (until its discovery, in 1827, no medal had been known to 
weigh more than 4 staters); 373. Antique Ship in sardonyx, with mediaeval 
mounting; below, 2089. Julia, daughter of Titus, aquamarine in mediaeval 
setting. At the end to the right: 274 (to the left, below), Claudius; 240. 
Augustus; 308 (in the centre), Triumph of Licinius; 79. Bacchus and 
Ariadne, set with pearls. Next the window, 4th Division, 238. Augustus. 
The remaining divisions of the case contain cameos (*44. Judgment of 
Paris), gold seals, personal ornaments, and Italic and early Roman coins. 

Opposite the windows at the end; Bust of the Abbi J. J. Barthilemy 
(1716-95), author of 'Le Voyage du jeune Anacharsis en Grece 1 . 

A Case (unnumbered) at the adjoining window contains a map with 
early French coins arranged on it geographically. 

Cases VII, VIII (in the middle). Roman and. Byzantine coins, Roman 
and Italic copper coins, Greek coins and medals from Lower Italy, Greece, 
and Egypt. — Case IX. lst-5th Divisions, French and foreign coins. 



206 R. Bank 7. BIBLIOTHEQUE NATIONALE. 

6th Division, Chinese and Japanese coins (some of great value). 7th Divi- 
sion, Persian and Indian coins. 8th Division, Arabian coins. 

The cabinets ranged along the wall opposite the windows contain 
Small Bronzes (including antique utensils, vases, and arms), specimens 
of ancient Glass, and a choice collection of Greek Painted Vases, then 
more bronzes, especially statuettes. — Cabinet XXI. 5th Division, below, 
*426. Dancing Satyr, in the Grseco-Roman style ; 363. Bust of 'Hermes 
with the Bells', probably a votive offering. — The cabinet on the following 
wall contains small antique Terracotta Figures and the '•Caillou Michaux\ 
a 'Kuduru' (p. 170) or ovoid stone of black serpentine with cuneiform 
inscriptions, a very valuable Chaldsean monument (1103 B.C.). The cabinet 
on the opposite side of the door also contains bronzes, and a silver disc, 
nearly 2»/2 ft. in diameter, known as the '•Bouclier de Scipion\ with reliefs 
representing the abduction of Briseis from Achilles by the messengers of 
Agamemnon: Antilochus, Nestor, Diomedes, and two warriors. It was 
found in the Rhone, near Avignon, and probably dates from the fourth 
cent, of our era. Another smaller disc represents Hercules slaying the 
Nemean lion. Bronzes: 815. Warrior (Hellenistic period); 1009. Ethiopian 
slave (Roman period); 1157. Cow. 

The Salle de Luynes, to the right of the antechamber, contains a 
choice collection of antique coins, intaglios, cameos, weapons, and terra- 
cottas, bequeathed by the Due de Luynes (1802-67), who was a celebrated 
antiquai-ian. In the centre, a beautiful torso of Venus in Parian marble. 
Cabinet to the right: antique weapons and a handsome Moorish sword 
of the end of the 15th cent., said to have belonged to Boabdil, the last 
king of Granada. — Adjacent is the — 

Salle de la Renaissance. Cabinet I, to the right : interesting Objects 
in Ivory. Consular diptychs (presented by consuls to senators) of the 
5-6th cent.; large French medals; sword of honour of the grand-masters 
of the Maltese order, with enamelled gold hilt (16th cent.); medallion of a 
woman, by Mino da Fiesole (15th cent.) ; Moorish bronze vases. — Central 
Case, above: ivory bridal coffer (Italian; 14th cent.); two enamelled 
croziers of the 13th and 15th cent. ; enamelled cup with a representation 
of Noah's Ark, by J. Courtois of Limoges ; silver-gilt ewer of the 16th cent. ; 
wood-carving of St. Anthony, by Lucas van Leyden ; silver casket of Franz 
von Sickingen, with reliefs (early 16th cent.); rook, said to have belonged 
to a set of chessmen sent by Haroun-al-Rashid to Charlemagne; seals of 
the University of Paris (13th cent.), of Louis XII, etc.; talisman of 
Catherine deMe'dicis; ornaments and enamels, including fine*Hat-ornaments 
of the 16th century. Behind, large and fine medals of the 16-I7th cent., 
and articles found in 1653 in a tomb conjectured to be that of Childeric I. 
(d. 481). — Cabinet II. Medallions by David d 1 Angers; antique and Byzan- 
tine ivory carvings; the large 'Sobieski Vase 1 , with ivory carving of the 
battle of Vienna in 1683. On the other side of the room, the so-called 
Throne of Dagobert (7th cent.), a Roman curule chair (back and arms added 
in the middle ages), and some interesting cabinets of medals. 

Rotunda or Salle des Donateurs (the last room), containing the Collec- 
tions Jami, Oppermann, and Pauvert de la Chapelle, consisting of ancient 
statuettes in bronze and. terracotta, and a few vases. Among the chief 
objects in the Janze Collection, to the right of the entrance, are: 623. 
Demos, or the masculine genius of cities; below, 124. Statuette of a dancing 
girl, in terracotta; 927. Small replica of the Diadumenos of Polycletus 
(bronze); 128. Artemis; 536. Hercules. The Oppermann Collection, to the 
left of the entrance, contains mirrors with graffiti, bronzes, terracottas, 
and painted vases. — The glass-case in the centre contains a chronologically 
arranged collection of French medals; also, the Treasure of B.ernay, con- 
sisting of 67 statuettes and silver vessels and two statues of Mercury, of 
different periods, found at Berthouville (arrondissement of Bernay) in 1830. 
The two "Goblets with Bacchic processions and two others with single figures 
are among the best-preserved specimens extant of ancient silver-work. 
Above, Bronze head of Lutetia, patron-goddess of Paris, found at Paris in 
1675. — By the 3rd window is the Pauvert de la Chapelle Collection, consist- 



PLACE DES VICTOIRES. R. Bank 7. 207 

ing of 167 lapidary inscriptions: Greek (including Mycenaean cylinders), Etrus- 
can, and Roman, presented to the library in 1899. — At the first window to 
the right are recent acquisitions, including cameos, medals, etc. 

A little beyond the Bibliotheque, Rue de Richelieu 58, at the 
corner of the Rue Colbert, is the picturesque but neglected old 
Hotel de Nevers. Then on the left, No. 75, a 17th cent, mansion with 
a handsome door bearing a carved escutcheon. No. 101, the balcony 
of which, resting on sculptured consoles, is adorned with a grotesque, 
was the residence of the Abbe Barthelemy (see p. 205). At the 
corner of the Boul. des Italiens (No. 112) is an old portrait-relief of 
Richelieu with an inscription of 1838. 



The Rue des Petits- Champs runs between the Bibliotheque and 
the Palais-Royal. Lulli, tbe musician (p. 38), lived at No. 45, in 
a house built by Gittard in 1671. Then comes the Rue de la Feuillade 
(on the right, the Banque de France, p. 89), which ends at the round 
Place des Victoires (PL R, 21 ; III). This Place was constructed in 
1685 from J. Hardouin-Mansart' s designs, partly at the expense of 
the Marechal de la Feuillade (1673-1725), and was embellished at 
the time with a gilded statue of Louis XIV. The monument, with 
the exception of the groups now at the Invalides (p. 303), was 
destroyed in 1792, and replaced by a pyramid inscribed with a list 
of victories gained by the republican army, from which the Place 
derives its present name. The pyramid was in its turn displaced 
in 1806 by a statue of General Desaix, which was removed in 1814. 
The present clumsy monument, a bronze Equestrian Statue of 
Louis XIV, by Bosio, was erected in 1822. The rider is garbed as a 
Roman general, with a wig, and the horse, in a rearing attitude, 
rests on the hind-legs and tail, in imitation of Peter the Great's 
monument at St. Petersburg. The reliefs on the pedestal represent 
the king's passage of the Rhine, and the distribution of military 
honours. 

The facades of the houses in the Place des Victoires were built by Fredot. 
To the E. of the Place des Yictoires the Rue des Petits-Champs is pro- 
longed by the Rue Etienne- Marcel (p. 195), which crosses the Rue du 
Louvre, skirts the central post-office (p. 193), and is continued to the 
Boul. de Sebastopol. 

A few paces to the N.W. of the Place des Yictoires, in the 
Place des Petits-Peres, is the church of Notre-Bame-des-Vietoires 
(PL R, 21 ; III), founded in 1629 to commemorate the taking of La 
Rochelle from the Protestants in 1627, but not finished until 1740. 
It formed part of tbe monastery of the bare-footed Augustine friars 
known as the 'Petits Peres', and during the Revolution was used as 
the Exchange. 

The altar of the Virgin, to the right of the choir, is richly decorated. 
The walls of the chapels are covered with votive inscriptions on marble. 
The choir contains some admirable wood -carving and two pictures by 
G. Van Loo: an Allegory of the capture of La Rochelle, and scenes from 
the life of St. Augustine. The first chapel on the left contains a coloured 
terracotta relief of SS. Peter and Paul in the Mamertine prison, by Bonas- 



208 Right Bank 7. BOURSE. 



sieux (d. 1745). In the second chapel to the left is the tomb of Lulli (see 
p. 207), by Cotton and Goyzevox. 

The Hue de la Banque, a little "beyond the church, to the right 
as we quit the latter, leads to the Bourse. This street contains three 
handsome modern edifices : the Mairie of the 2nd Arrondissement 
(Bourse) and the Caserne de la Banque on the right, and the Hotel du 
Timbre on the left. The Salle des Manages of the mairie contains 
paintings by Moreau de Tours. 

The*Bourse, ox Exchange (PI. R, 21 ; III), constructed in 1808-26 
by Brongniart and Labarre, and surrounded by a series of sixty-six 
Corinthian columns 33 ft. high and Si^ft. in diameter, with a spacious 
platform and steps at either end, is an imitation of the Temple of 
Vespasian in the Forum at Rome. Two additions, on the N. and S., 
by F. Cavel, were built in 1902-3. At the corners in front are al- 
legorical statues of Commerce by J. Dumont and Consular Justice 
by Buret; at the back, Industry by Pradier and Agriculture by 
Seurre. — Metro Stat., see Appx., p. 32. 

The Bonrse is opened for business daily, except on Sundays and holi- 
days, at 12 o'clock (on the 1st and 15th of the month at 11). Admission 
is free, but no ladies are allowed inside the hall, where the crush is 
anything but pleasant. The grisaille paintings on the ceiling of the large 
hall, by Abel de Pujol and Meynier, represent the inauguration of the 
Bourse by Charles X, France receiving- the tributes of nations, the Union 
of Commerce, Science, and Art, and the Principal Cities of France. — 
Even under the Peristyle outside business is animated, though nothing in 
comparison with the scene within the hall, which is thronged by a com- 
pact crowd of eager money-seekers. The parquet, at the end, is a railed- 
off space which the sworn brokers, or agents de change, are alone privileged 
to enter. In the centre of this part of the hall i3 the corbeille, a circular 
enclosed space, round which they congregate, making their offers in loud 
tones. Various groups in different parts of the hall, but especially near 
the parquet, are occupied in taking notes, or concluding sales or purchases, 
the prices being regulated by the transactions going on in the parquet, 
while other persons are seen handing instructions to the brokers within 
the parquet. To the right, not far from the 'corbeille 1 , is the Marche" au 
Comptant for cash transactions, the employes here shouting out the rates at 
which the various transactions are concluded. To the left, at the end of 
the gallery, is the Coulisse de la Rente (French government bonds). At 
3 o'clock the bell rings and stock-exchange business is over for the day. 

Adjacent is the Boulevard Montmartre (see p. 82). — The wide 
Rue Reaumur (PI. R, 21, 24, III; Metro Stat., Appx., p. 32) leads 
to the S.E. to the Conservatoire des Arts et Metiers (p. 197).* 

At No. 100 in this street is the entrance to the old 'Cour des Miracles 1 . 
Of this nothing now remains, but from the 13th cent, up to the time of 
Louis XIV it was the favourite haunt of beggars and vagrants. Victor 
Hugo gives an admirable description of it in 'Notre-Dame de-Paris 1 . 

8. Quarters to the North of the Interior Boulevards. 

MfiTROPOLiTAiN Stations (Lines 2N and 3), see Appx., pp. 30, 32. — 
Restackakts in this part of Paris, see p. 21. 

The Boulevard de Strasbourg (PI. R, B, 24 ; III), which unites 
the Boul. St. Denis (p. 83) and the Gare de l'Est, was laid out by 
Haussmann(x). xxvii), under Napoleon III., partly to afford more room 



ST. LAURENT. Right Bank 8. 209 

for traffic and partly for the sake of clearing away the narrow streets 
which lent themselves too easily to the erection of "barricades in times 
of revolutionary ferment. Beginning at the Gare de l'Est on the N., 
it is prolonged by the Boulevards de Sevastopol (p. 84), du Palais 
(p. 261), and St. Michel (p. 269) to the Observatoire (p. 334) on the 
S., thus forming one of the main arteries of Paris. 

At the intersection of the Boul. de Strasbourg and the Boulevard 
de Magenta (which begins at the Place de la Republique, p. 84) 
rises, on the right, the church of St. Laurent (PL B, 24), one of the 
most venerable in Paris, which was rebuilt in 1429, several times 
restored, and finally remodelled in 1865-66, when two bays were 
added to the nave and a handsome Gothic facade and a spire were 
constructed on the side next the boulevard. 

The choir was decorated by Blondel and the high -altar by Lepautre. 
In the S. transept is a Martyrdom of St. Lawrence, by Greuze; in the 
Chapelle des Catechismes (in the right aisle; apply to the verger) is a 
painting of St. Lawrence on his way to torture, by Trezel. The Lady 
Chapel in the apse (Chap. Notre-Dame-des-Malades) is adorned with numer- 
ous votive offerings. 

The Square St. Laurent , to the right of the church , contains a 
pretty group (Brother and Sister) by A. Lefeuvre. 

The Gare de l'Est, or de Strasbourg (PL B, 24; see p. 32) faces 
the end of the Boulevard de Strasbourg. This handsome structure 
(designed by Buquesnay) was rebuilt and enlarged in 1895-99, 
when the portion abutting on the Rue du Faubourg-St-Martin was 
added. In the centre of the facade is a demi-rose window, the gable 
over which is crowned by a seated figure representing the city of 
Strassburg. The pavilions projecting on each side are connected by 
a colonnade, on the balustrade of which is a clock-dial with statues 
of the Seine and the Rhine. 

On the site of the present courtyard the Fair of St. Lawrence used to 
be held, from 1662 to the end of the 18th century. It was a monopoly of 
the Lazarist order and partook of a religious character. Commemorative 
tablet on the corner-pavilion to the left of the station. 

The Rue de Strasbourg, leading to the W. past the front of the 
station, joins the Boulevard de Magenta, which brings us in 5 min. 
to the Rue La Fayette (see below). 

The Gare du Nord (PL B,24; see p. 31), a railway-station con- 
structed in 1863-64 by Hittorff, is situated in the Place de Roubaix, 
a short distance to the right. The principal part of the extensive 
facade, which is broken by three enormous arcades, is surmounted by 
a pediment crowned with statues of Paris (in the centre) and of eight 
important foreign cities connected with Paris by the Ligne du Nord. 
— On the other side of the court lying to the right of it is the Station 
of the Ceinture, which is connected with the main station by an under-^ 
ground passage. 

Between the Gare de l'Est and the Gare du Nord begins the long 
Rue La Fayette (PI. B, 21, 24, 27, 26), which extends on the E. as 
far as the outer Boulevard de la Villette (p. 240). A short distance 

Baedkkeb. Paris. 16th Edit. 14 



210 Bight Bank 8. ST. VINCENT-DE-PAUL. 

from the stations it skirts the small Place La Fayette, which slopes 
up to the church of — 

*St. Vincent-de-Paul (PI. B, 24), erected in 1824-44 by Lepere and 
Hittorff in the form of a Latin basilica, resembling Notre-Dame-de- 
Lorette (p. 21 1). Two inclined slopes in the form of a horse-shoe and 
a central flight of 46 steps ascend to the entrance. Surmounting this 
amphitheatre is a peristyle of twelve Ionic columns ; the relief in the 
pediment, by Lemaire, represents St. Vincent de Paul, between Faith 
and Charity. On each side are square towers 138 ft. in height. Over 
the bronze doors are sculptures by Farochon, representing Christ 
and the Apostles. 

Interior. The church consists of a nave flanked with double aisles, 
the latter being partly occupied by chapels, and partly by galleries. The 
roof is borne by 86 Ionic stuccoed columns. The open roof is tastefully 
decorated. The windows of the aisles are filled with stained glass by 
Marichal and Grignon. 

The nave is adorned with a celebrated *Frieze by Hippolyte Flandrin 
(1850-54), conceived in the manner of the early-Christian mosaics at Ra- 
venna. It represents the nations of the earth advancing in solemn pro- 
cession towards the gates of heaven. Over the entrance are SS. Peter and 
Paul, preaching the gospel. To the right are two groups of believers, 
one with St. Louis in its midst. Farther on are bishops, St. Jerome with 
his lion, and the other Fathers of the Church, martyrs, Christian heroes, 
SS. Stephen, George, Christopher, and so forth. To the left are Mary and 
Joseph, penitent saints with Mary Magdalen, two groups of holy women 
(SS. Anne, Elizabeth, Felicitas with her seven sons), the virgin saints Martha, 
Genevieve, etc., and female martyrs (St. Cecilia and others). 

In the dome of the choir is another fresco, by Picot (d. 1868), re- 
presenting St. Vincent de Paul kneeling before Christ on his throne and 
presenting children to him. The frieze, also by Picot, represents the seven 
sacraments. The high-altar is adorned with a handsome Crucifixion in 
bronze, by Rude (d. 1855). The Lady Chapel behind the choir contains a 
fine group of the Virgin and Child by Carrier-Belleuse , and scenes from 
the New Testament by Bouguereau: Annunciation, Visitation, Adoration of 
the Magi, Adoration of the Shepherds, Flight into Egypt, Meeting of Christ 
and Mary. — Admirable organ. 

The Rue St. Vincent-de-Paul, behind the church, intersects the Boule- 
vard de Magenta, and ends at the Hopital lariboisiere (PI. B, 23), erected 
in 1846-53, and called after the countess of that name, who bequeathed 
2,900,000 fr. to the poor of Paris. The chapel contains the tomb of Mme. 
de Lariboisiere (d. 1851), by Marochetti. — A little to the N. of the hos- 
pital, beyond the Boul. de la Chapelle, is the handsome church of St. Ber- 
nard (PI. B, 23), with its fine spire, erected in 1858-61, by Magne, in the 
Gothic style of the 14th century. In the square in front of the church is 
a pretty bronze figure of a woman feeding poultry. 

A little farther on the Rue La Fayette is joined on the W. (left) 
by the Rue de Chabrol, in which is the notorious 'Fort Chabrol', 
which defied the police for so many days in 1899. Then, on the 
right, we pass the Square Montholon (PI. B, 21), embellished with 
two bronze groups : Eagle and vulture contending for the carcase of 
a bear, by Ca'in; and a Mountebank with a monkey ('Monnaie de 
singe'), by Roland. 

At No. 28 Rue de Montholon died Mehul, the composer, in 1817. 

In this part of the Rue La Fayette are a number of old curiosity 
shops. No. 61 is the office of the 'Petit JournaV. 



NOTRE-DAME-DE-LORETTE. Right Bank 8. 211 

The quarter extending to the S. of this point towards the Boule- 
vards is, especially in the neighhourhood of the latter, affected by 
members of the 'haute finance', many banks and handsome private 
residences being situated there. On the left, where the Rue Drouot 
(p. 82) begins, are the offices of the 'Figaro? with a graceful facade 
in the style of the Spanish Renaissance and a statue of Figaro by J. B. 
Amy. The Rue Laffitte (p. 81) and the Rue de la Chaussee-d" Antin 
(p. 212) are the principal streets in this neighbourhood. 

At the N. end of the Rue Laffitte appears the church of — 

Notre-Dame-de-Lorette (PL B, 21), erected in 1823-36 by 
Hipp. Lebas in the simple style of an early-Christian basilica. The 
tympanum of the Corinthian portico is adorned with figures of Faith, 
Hope, and Charity, by Foyatier, Lemaire, and Laitii. 

The Interior is more elaborately decorated than the character of 
a basilica would warrant. The 'Frescoes in the four corner-chapels are, 
however, admirable in their classical restraint. To the right are the Bap- 
tistery, by A. Roger (ca. 1834), and the Chapel of the Eucharist, by Pirin 
(1852); to the left are the Chapelle des Morts, by Blondel, and, at the end, 
the Lady Chapel, by Orsel. — The smaller chapels contain paintings by Hesse, 
(Adoration of the Shepherds), Johannot (St. Hyacinth), Deviria (Apotheosis 
of St. Genevieve), Schnetz (frescoes), and others. — The frescoes in the nave 
and on the triumphal arch represent the Four Major Prophets and scenes 
from the life of the Virgin, by Dubois, Monvoisin, and others. — In the choir : 
on the left, Presentation in the Temple, by Heim ; on the right, Jesus 
teaching in the Temple, by Drolling. In the apse : Madonna enthroned and 
(dome) Coronation of the Virgin, by Picot. In the spandrels, the Evan- 
gelists, by Delorme. — Fine music at the evening-services in May, the Ma- 
donna's month ('mois de Marie 1 ) • 

Nutre-Dame-de-Lorette is associated with the 'lorettes' , with whom 
this quarter abounded, and whose types were so happily hit off by Gavarni 
(see below), the celebrated caricaturist. 

The Rue de Chateaudun leads from Notre-Dame-de-Lorette 
to the "W. to the church of La Trinite (p. 212). — In the Rue de 
la Yictoire, running parallel on the S., is a Synagogue in the Neo- 
Romanesque style, built by Aldrophe in 1865-74. 

In the Place St. Georges (PL B,21), to the N.W. of Notre-Dame-de-Lorette, 
was the residence (No. 27) of Thiers, rebuilt at the expense of the govern- 
ment after it had been fired by the Communards in 1871. It was bequeathed 
in 1905 by the statesman's sister-in-law to tbe Institut de France, and is 
to be occupied by the historical section of the library of the Institut. The 
fountain which adorns the Place has been converted into a Monument to 
Gavarni (1804-66), with a bust of the caricaturist and reproductions of some 
of his best-known creations, by D. Puech and H. Guillaume. 

Between the churches of Notre-Dame-de-Lorette and La Trinite, 
in the Rue de La Rochefoucauld, No. 14, is the Musee Gustave 
Moreau (Pl.B, 21), occupying the house of that artist (1826-98). It 
contains about 700 paintings (some of them unfinished) and 4000 
drawings by this original painter, whose works, much as their merit 
has been discussed, possess an undoubted charm of their own. The 
museum is open daily 10-4 except Mon. (visitors ring the bell). Direc- 
tor, M. Rupp. Catalogue (1902), li/ 2 fr.; illustrated (1904), 31/2 fr - 

The upper floors should be seen first as they are principally devoted to 
the paintings. — On the landing of the 1st floor: (Edipus and the Sphinx. 

14* 



212 Right Bank 8. LA TRINITE. 

Second Flook. — Wall to the right of the staircase: 18. Tyrteeus 
singing during the battle; 19. Penelope's wooers; 20. The Argonauts. 
Rear wall, 21. Moses; 23. Apollo deserted by the Muses; 25. Daughters 
of Thespius; 28. Hesiod and the Muses; 30. Messalina; 32. The Magi; 
35. Punishment of Prometheus; 37. The mystic flower. Left wall: 39. The 
Chimerse ; 43. Leda ; 48. Good Samaritan ; 47. Magdalen at the foot of the 
Cross. Opposite the 1st window, Semele. Window wall, 57. Scourging of 
Christ; 58. Helen on the ramparts of Troy; 63. Eve; 62. Finding of Moses; 
66. Poet and Siren. Above are smaller pictures: from right to left, 26, 
34. Hercules and the Lerneean hydra; 36. Moses in the bulrushes. 

Thikd Floor. — Room I. Wall behind the staircase, from left to right : 
93, 104. Leda; 94. Unicorn; 109 (farther on), Persian poet; 96. Tvrtseus; 
97. Petrarch; 98. Messalina; above, 95. Debauch; 100. Galatea; 101, 108. 
Golgotha; above, 102. Orpheus; 103, 107. Sirens; 105. Ganymede. Right 
wall (from 1. to r.), 78. Good Samaritan; 79. Salome; above, 80. Hercules 
and the Nemean lion; 81. Angels of Sodom; 83. Dance of Salome; 85. 
Hercules at the Stymphalian lake ; above, 86. Venice. Partition at the end, 
70. Triumph of Alexander the Great; above, 71. Death of Sappho; 73. 
Human life; above, 74. Narcissus; 75. Pasiphae; 76. Leda. In the middle 
of the room, on a stand: 69. Portrait of G. Moreau, by himself (1850). — 
Room II. Right wall (from 1. to r.), 199. King David; 200. Indian poetesses; 
201. Roman slaves thrown to the lampreys; 204. Temptation; 205. Helen 
on the ramparts of Troy; 206. Hercules and the stag; 208. Magdalen at the 
foot of the Cross; 211. Daughter of Herodias ; 215. Return of the Prodigal 
Son; 213. Unicorns; 214. St. Sebastian. Entrance-wall, 216. Jupiter and 
Semele; 219. St. Sebastian; above, 220. Pasiphae; 222. Salome with the 
head of John the Baptist; 223. Flight of Darius. Window-wall, 224. Park- 
scene; 230. Cupid victorious over Death; 234. Portrait of the artist by 
himself. Rear wall (1. to r.), 183. Fairy and the griffins ; above, 185. Apollo 
and the satyrs; 184. Christ at Gethsemane; 186. Bathsheba; 187. St. Cecilia; 
191. Rape of Europa; 193. Delilah; 196. Prometheus. A revolving stand 
contains (inside and outside) about 450 water-colours (apply to the custodian). 
— ' We now descend the three staircases to the — 

Gkoond Floor, principally devoted to sketches and water-colours. 

The church of La Trinite, like Notre-I>ame-de-Lorette, stands at 
the upper end of a street running from the Boulevards, the Rue de 
la Chaussee-d J Antin (p. 81), generally alluded to as the 'Chausse'e 
d'Antin'. 

A tablet at No. 42 Rue de la Chausse'e-d'' Antin marks the house where 
Mirabeau died in 1791. Josephine de Beauharnais lived at No. 62 and 
General Foy died there in 1825 (inscription). No. 2 (Restaurant Paillard^ 
see p. 16) was the barracks of the Garde Francaise; Rossini occupied it in 
1868. In this street also lived Mme. d'Epinay, Grimm, Necker, Mme. Re- 
camier, and other celebrities. 

The small Square in front of the church is embellished with a 
group of three fountains, the statues on which represent Faith, Hope, 
and Charity, by Lequesne, after Duret. 

La Trinite (PI. B, 18), a church in the latest Renaissance style, 
was built by Ballu in 1861-67. The facade has a porch with three 
large arches, above which rises an elegant story with a gallery and a 
rose of open-work, surmounted by a clock-tower 206 ft. in height, 
flanked with two lanterns. Over the doors of the porch are enamel- 
paintings by Baize. — The usual entrance is by the door on the right. 

Interior. By the side-doors are two tasteful holy water- basins in 
marble, representing Innocence and Purity, by Gumery. — The chapels in 
the aisles are adorned with modern paintings. Left Aisle: Chapelle des 
Fonts, Adam and Eve expelled from Paradise and Baptism of Christ, by 
Frangais. 2nd Chap., Pieta and Prayer to the Virgin (Michel Dumas). 



GARE ST. LAZARE. Right Bank 8. 213 

3rd Chap., Sacred Heart and Good Shepherd (R. Cazes). 4th Chap., Holy 
Family and Joseph's dream (E. Thirion). — Choir. Behind the high-altar 
is some good stained glass; the frescoes on each side represent: (r.) 
Presentation in the Temple, (helow) Daniel and David (Em. Lfoy); (1.) As- 
sumption and Isaiah and Ezekiel (E. Delaunay). The marble group of the 
Madonna and Child is by Dubois. — Right Aisle. 4th Chap, (near the choir), 
Death of St. Denis and St. Denis carrying his head (D. Laugie). 3rd Chap., 
St. Genevieve distributing food to the Parisians and Believers praying 
before her relics (F. Barrias). 2nd Chap., St. Vincent de Paul converting 
the galley-slaves; above, Madonna and Child, St. Vincent snccouring the 
inhabitants of Lorraine, by Lecomte du Nouy. 1st Chap., Intercession for 
the souls in Purgatory, Entombment (P. Brisset). — La Trinite has a good 
choir and organ. 

The Rue St. Lazare, which starts from the W. side of the square, 
forms the S. boundary of the Qttartieb, de l'Etjrope, so called 
because most of the streets are named after European capitals. 

The Rue de Londres, which ascends from La Trinite to the right of the 
Rue St. Lazare, leads almost straight to the Pare Monceau (p. 222), via 
the curiously shaped Place de VEurope (PI. B, 18), formed by the junction 
of six streets above the line of the Chemin de Fer de TOuest, behind the 
Gare St. Lazare. Adjacent, at the intersection of the Rue de Madrid and 
Rue de Rome, is a Metropolitain station (Appx., p. 32). 

The Gare St. Lazare (PI. B, 18 5 see p. 32), which is reached 
from the Boulevards more directly via the Rue Auber and Rue du 
Havre, is a large and handsome building, remodelled in 1886-89 on 
plans by Lisch. It consists of two main parts, connected by a long 
open hall, and of the Hotel Terminus (p. 4) in front, facing the 
street, and concealing the rest. The pavilion in the Rue d' Amster- 
dam is for the main line traffic, the other part, in the Rue de Rome, 
for the Chemin de Fer de Ceinture and for the Lignes de Banlieue. 
The waiting-rooms are on the first floor; the registration of luggage 
takes place on the groundfloor, on which are the principal exits. — - 
Metro Station, see Appx., p. 32. 

Montmartre. 

Metropolitain Stations (Line 2N, Appx., p. 30): Place d'Anvers (see 
below), for the basilica of the Sacre-Coeur (p. 214)-, Place Blanche (p. 216) 
or Place de Clichy (p. 220), for the cemetery of Montmartre. — Restaurants, 
see p. 21. 

The heights of Montmartre are situated to the N. of the exterior 
boulevards, which offer little of interest. In the Boul. de Roche- 
chouart (PI. B, 20), to the E. of the large College Rollin, is the 
small Place d'Anvers, which is embellished with a column bear- 
ing a bronze Statue of Armed Peace, by Coutan, and with bronze 
statues of Sedaine (1719-1797) and Diderot (1713-1784), by Le- 
cointe. Opposite the college is the Theatre Trianon- Lyrique (p. 41). 
Farther to the E. the dome of the Magasins Bufayel (PI. B, 23) is con- 
spicuous. The facade on the other side, in the Rue de Clignancourt, 
near the Butte Montmartre, has sculptures by Falguiere and Dalou. 

The Rue de Steinkerque leads to the N. from the Place d'Anvers 
to the Place and Square St. Pierre (PL B, 20), covering the S. slope 
of the Butte, whence the summit is reached by paths to the right. 



214 Right Bank S. MONTMARTRE. 

A cable- tramway (funiculaire ; 10 c. up, 5 c. down), starting on the 
left side of the square, ascends alongside the Rue Foyatier. 

To the right of the square, opposite the angle formed by the Rue 
Charles-Nodier and Rue Ronsard, is an inscription recording that Cuvier 
(1769-1S32) here discovered some fossil remains confirming his palaeonto- 
logical theories. 

The Butte Montmartre is a hill famous in the annals of Paris, 
rising to a height of 340 ft. above the Seine. According to tradition, 
St. Denis, the first bishop of Paris, and his companions suffered 
martyrdom here in 270, and the name of the hill is supposed to 
have once been Mons Afartyrum. Others derive the name from 
Mons Martis, from a temple of Mars which is said to have stood on 
this site. 

The heights of Montmartre dominate the whole of Paris. It was from 
this eminence that Henri de Navarre, who became Henri IV, bombarded 
the city in 15S9 when it was in the hands of the Ligue, the hostilities 
ceasing only on the death of Henri III, whereby the French crown reverted 
to the besieger. Here also took place the final struggle between the French 
troops and the Prussian and Russian allies in 1814. On 18th March, 1871, 
the insurgent soldiers, having assassinated the generals Cle'ment-Thomas 
and Lecomte , took possession of the cannon on Montmartre, which had 
been entrusted to a body of the National Guard. Thus began the Com- 
munard rebellion of 18th March to 28th May, 1871. The insurgents were 
dislodged by the victorious troops on 24th May, and the batteries of Mont- 
martre were then directed against the Communards who occupied the 
Buttes-Chaumont (p. 240) and Pere-Lachaise (p. 242). 

The Basilique du Sacre-Cceur (PI. B, 20), crowning the summit 
of the hill, was begun in 1875 and, though still unfinished, has been 
used for service since 1891 . It is an imposing edifice in the Ro- 
manesque-Byzantine style, from designs by Abadie, and is sur- 
mounted by a large dome, about 260 ft. in height, with a clock-tower 
390 ft. high behind. The progress of the building has been slow, for 
very extensive substructures were required in the ancient quarries 
of gypsum (yielding 'plaster of Paris'), and though 30,000,000 fr. 
(1,200,000 I.) have already been expended, much has yet to be 
raised by subscription. The fagade is embellished with two sculptur- 
ed reliefs : Christ and the Samaritan "Woman, by A. d'Houdain, and 
Mary at the house of Simon, by L. Noel. The tympana of the porches 
also have reliefs: Spear-thrust of Longinus, by Barrias, Moses strik- 
ing the rock, by Fagel, and St. Thomas touching the Saviour's wound, 
by H. Lefebvre. A statue of the Sacre'-Cceur, by Michel, adorns the 
niche over the main porch. The interior decoration is still far from 
complete, but visitors should not forget that they are in a consecrated 
church. — The entrance to the Crypt (25 c), extending under the 
entire church, is to the W. of the porch. 

To the right of the facade, in a temporary shed, is the huge bell known 
as the 'Savoyarde'', presented by the province of Savoy (adm 50 c, 25 c. on 
Sun. and holidays). It is 10 ft. high and 19 tons in weight without the 
tongue, dimensions exceeded in Europe only by those of the great bell of 
Moscow (19 ft. high and 200 tons in weight). 

The ascent of the Dome (60 c. ; ticket-office to the left of the 
facade) may be made at the hours and half-hours. The top affords a 



MONTMARTRE. Right Bank S. 215 

magnificent *View of Paris, as good from the second platform as from 
the top of the lantern (a fatiguing and useless climb of 94 steps). 

The principal features from left to right are as follows : immediately 
below, the dome of the Maison Dufayel (p. 213); in the foreground, 
St. Vincent -de -Paul and the Gare du Nord ; farther off, the Buttes- 
Chaumont, the two towers of Belleville, the tower of Me"nilmontant, 
and Pere - Lachaise with its 'sugar- loaf ' and crematorium; to the right, 
nearer us, the Mairie of the 10th arrondissement; beyond St. Vincent- 
de-Paul, the campanili of St. Ambroise, the Colonne de Juillet, and the 
dome of St. Paul's; in front, the Chapelle des Arts et Metiers; more 
remote, still to the right, the dome of La Salpetriere; St. Gervais, the 
Hotel de Ville, Notre-Dame, the Tour St. Jacques, St. Etienne- da-Mont, and 
the Pantheon; next, St. Eustache and the Halles Centrales, with the 
domes of the Sorbonne, the Val-de-Grace, and the Observatory; nearer, 
the twin towers of St. Sulpice, the tower of St. Germain-des-Pre's, and 
the Louvre; in the distance, the tower of Montrouge; then comparatively 
near, to the right, the imposing Opera House, above which rise the spires 
of Ste. Clotilde; to the left, the Vendome Column; again to the right, the 
dome of the church of the Assumption, the gilded cupola of the Invalides, 
and the Eiffel Tower (3 M. away); nearer, to the right, the campanile of 
La Trinite", and the Madeleine ; then the dome of St. Augustin, the towers 
of the Trocadero, the Arc de Triomphe de TEtoile, and the fort of Mont 
Vale"rien. On the horizon rise the hills of Chatillon, Clamart, and Meudon. 

In front of the basilica stands a Statue of the Chevalier de La 
Barre, who was burned alive in 1766, at the age of nineteen, for 
'impiety'. The sculptor was Armand Bloch (1906). 

To the "W. of the church is a very large Reservoir (2,420,000 gal.) 
with three stories. The water in the first story is pumped up from 
another reservoir at the foot of the hill, whither it is brought from 
Bercy. The upper stories are destined for spring-water. Visitors 
apply to the keeper, to the left. — Behind the reservoir lies the old 
church of St. Pierre-de- Montmartre, a relic of a Benedictine mon- 
astery founded in 1147 by Louis VI, and now undergoing restoration. 
The entrance is in Rue du Mont-Cenis (PI. B, 20). 

To the right of the church is a Mount Calvary, from the old convent 
of Mont Valerien (adm. 25 c). — In front of the reservoir, Rue St. Eleu- 
there 3, to the left of the cable-tramway station, is the Panorama du Bacre"- 
Coeur (Ancient Jerusalem, the Crucifixion), by O. Pichat (50 c), and on 
the other side of the Sacre-Cosur, Rue Lamarck 18, is the Diorama of Rome 
(adm. 50 c). — In the garden of the Moulin de la Galette (p. 42) are two 
of the mediaeval windmills for which Montmartre was famous, both in 
good preservation. 

At the foot of the Butte, to the N., at some little distance from the 
Sacre-Coeur, in the Place Ste. Euphrasie (PI. B, 19), are the church of 
Notre- Dame- de-Clignancourt (1859-63) and the handsome Mairie of the 18th 
Arrondissement (Butte-Montmartre), in the Renaissance style (1888-92). 

Descending once more to the Boulevards Exterieurs, we follow 
them to the W. for about 3 / 4 M., to the Cemetery of Montmartre. At 
the end of the Boul. de Rochechouart is the little Cirque Medrano 
(p. 43), at the corner of the Rue des Martyrs, on the right of which, 
in the Impasse Gill, is seen the bust in stone of Andre GUI 
(d. 1883), the caricaturist, by Mme. Montorgueil. The Boul. de 
Rochechouart is continued westwards by the Boulevard de Clichy. 
The Passage de l'Elysee-des-Beaux-Arts (PL B, 20), leading out of 
it on the right (No. 22), contains a Chapel, with a large altar-piece 



-lO Right Bank 8, MOINTMA.KTKK. 

[St, Pierre Fourier teaching children) by Peres Sieffert and Rousseau 
[apply before 9 a. in.; fee). Tins ancient chapel is now the crypt of tlvo 
handsome now Church of St. John ike Evangelist, by Bodeau, entered 
from the Plaee des Abbesses, in the Place is a bronze figure of a 
Lion roaring, by Cordier. — Farther on in the Boul. de Cliohy aro 
the Flace Blanche (Metro Stat.) and the Moulin Uouoe (jK 41). 

The short Avenue Rachel leads to the right ^N.l to the cemetery. 
This approach was lowered in 1888, when the Yiaduc Caulaincourt 
was carried over the cemetery, uniting the Rue Caulaincourt, to the 
N. of the Butte Montmartre. with the Boul. de Cliehy. 



The *Cemetery of Montmartre, or Cimetiere du Nord (PL B, 
L7), the second burial-ground of Paris, though inferior to Pere- 
Lachaise. is also worthy of a visit. Hours of adui., see p. 243. 

We follow the main avenue in a straight direction to the Carre- 
four ivr la Croix, a circular space with a column surmounted by a 
funeral urn. below which are interred the victims of the 'coup d'e'tat' 
of 1852. To the left of the Carre four lies the vault of the Cavaiynac 
Family, to which belonged the author Godcfroy ^d. 184iY), the general 
Kuahxe [d. L857), president of the republic in 1848, and the states- 
man Godcfroy (d, 1905). The bronze recumbent figure of the first 
is by Rude. To the right, under the viaduct: J. Duprato (d. 1893), 
composer, bronze medallion by J. Thomas; Ccaictgnmy (d, 18S81 
the author, bronze bust by Rodin; Beyle ^Stendhal; d. 1842), author, 
medallion after David d'Angers. On the N. side of the Carrefour 
is the conspicuous tomb of Entile Zola [d. 1900 ; eomp. p. 285), the 
novelist, with a monument by R. Meunier and A. Charpentier. 

The Avbntjb DtfBTJiSSON leads hence to the right. On the right: 
Feyen-Fcrrin [d. 1888), painter, with a bronze bust and a statue 
of a fisher-girl strewing flowers, by Guilbert. Under the viaduct, 
Jean Gc'rome [d, 1891) and J. L. OYromc (d. 1904), with a statue 
of Grief by the latter. Opposite the end of the avenue, WcUdeck- 
Rousscau (d. 1904), the statesman. By the wall at the end, Ad. For- 
lier (d. 18901, with a bronze statue of a woman strewing flowers, 
by L. Moriee. Near by is the grave of Francisque Sarcey, the dra- 
matic critic (d. 18991. — We next pass the Avenue de la Cloche, to 
which we shall return presently (jx 218), noticing only the monu- 
ment of Meilhai\d. 1897), the dramatist, at the corner, by Bartholome. 

The Jewish Cemetery is a little farther on, to the right of the 
Avenue Cordier. To the left, near the entrance, Fam Family, with 
a caryatid by Bartholome [1904) ; Panid Osiris [d, 190T ; p. 374), with 
a colossal statue of Moses, after Michael Angelo, by A. Mercie'. — 
Farther on in the Avenue Cordier, on the left. Gust. Guillaumet 
[d, 1887), the painter of Oriental subjects; the titles of his pictures 
are inscribed on the monument, which is adorned with a statue of an 
African woman and a bronze medallion by Barrias. To the right, 



MONTMARTKK. Right Bank S. 217 



TJUoph, Oautkr, the writer fa. 1872), with a statue of Poetry,, by 
Godebffci, Mid the following inscription among others: — 

i L , oiteau s'cn va, la feuille lombe, Petit oiteau, vient tvr ma tomhe 
//armour s'ileinl, car c'etl VMver ; Chanter yuand tarhre sera verC. 



CIMETI E R I 
M.QNTMARTRE 

1:5000' -.^ 




Gxaxv. evjnijrwj j 



Above, on the right, Halevy, the composer (d. 1862), with a 
statue byDuret. To the left, Oozlan (d. 1866), the writer. — We 
mount the steps in front and find ourselves in the Avbnue Monte- 



t2t S Right Bank 8, MONTMAUTKK. 

B&LLO, which bears round to the right, one of the most interesting 
in the cemetery. To the left, MiecisUto Kamienski, a Polish volunteer 
who fell at Magenta in 1859, with recumhent bronze figure by 
Franeesehi. Almost directly behind, J. J. Henner (d. 1905"), the 
painter. Paul Dclaroche ( d. 1850), the painter. Farther on (right), 
Admiral de liigny (d. 1835); Marshal Lannes (d. 1809), Duo de 
Montebello ; (left), Horace Vernet (d. 1863), the painter, a marble 
sarcophagus; (right) the Count* Potocki, who died (1803, 1800) in 
exile ; (left) Ad. Adam (d. 1850), the composer, bronze bust. About 
50 paces along the Avenue des Carrieres, on the right, is the tomb 
of fleeter Berlioz (d. 1809), the composer, with a medallion by 
Godebski. 

In the Avenue du Tunnel, to the right, Lion Foucault (d. 1808), 
the natural philosopher (p. 285). Behind it, J. Garcin, (d. 1890), 
musician. A little farther on, A. de Neuville (d. 1885), battle-painter, 
with a bust of the doceased and a figure of France, by Fr. de St. Vidal. 

We retrace our steps for a few yards and turn to the right into 
the Avenue Cordter again. Left, Henri Murger (d. 1801), author of 
the 'Vie de lnVhcme', with a statue of Youth by Millet. — In a small 
alley, Louise Thouret (d. 1858), with recumbent figure in marble by 
Oavelier. 

We now ascend by the grave of Gozlan (p. 217) and proceed 
towards the right to the Avenue de Montmorbnct. Right : Duchcsse 
(f Abrantcs (d. 1838), wife of MarshalJunot, and their son; medallion 
by David d' Angers. Adjacent, Anj Schcffcr (d. 1858), the painter, 
a chapel in which also rests Ernest Renan(d. 1892), author and 
critic, Scheffer's nephew. In the centre, Alexandre Dumas the 
Younger (d. 1895), with recumbent, statue by St Marceaux, under a 
canopy. To the right, Aimc Millet (d. 1891), the sculptor. 

We here turn to the left and follow the Avenue de la Cloche. 
On the right : Victor Masse (d. 1884), composer, with bronze 
ornamentation. To the left: De Braux d'Anglure (d. 1849), a bust 
and bas-relief in bronze. Farther on, Jules Simon (d. 1890). philo- 
sopher and statesman. Then, a little to the side, E. Oonzalis (d. 1887), 
the writer. In the avenue (left), Armand Marrast (d. 1852), member 
of the government of 1848 and president of the National Assembly. 
On the right, in the second row of graves, reposes Heinrich Heine 
(d. 1850), the poet, monument and bust, by llasselriis. In the first 
row, close by, Oreuze (d. 1805), the painter. — Farther on, to the 
left, Yiollet-le-Duc (d. 1879), architect, and Meilhac (p. 216). 

Opposite is the Chemin Due, crossing the Chemin Troyon, 
which traverses the most interesting part of the cemetery. Left: 
Frederic Lemaltre (d. 1876), the actor, with bronze bust by Gra- 
net; right: Troyon (d. 1865), the painter; Aglac Didier (d. 1863), 
writer. — Among the trees, to the left: B. Deslandes (d. 1890), dram- 
atist, bust by Guilbert; Nefflzer (d. 1870), founder of 'Le Temps', 
with a bronze statue of Grief, by Bartholdi. Farther on, Carlotta 



MONTMARTRE. Right Bank 8. 219 

Palti (d. 1889), singer, medallion by Lormier. — In the main walk, 
left: Clapisson (d. 1866), composer; H. Storks (d. 1866), recorder 
of Cambridge, marble monument, with medallion. Ambroise Thomas 
(d. 1896), composer ; Mery (d. 1866), author, with a statue of Poetry, 
in bronze, by L. Durand. — In the Chemin Baudin, to the right, 
Baudin, 'mort en defendant le droit et la loi, le 3 de*c. 1851 : ses 
concitoyens, 1872' ; a handsome recumbent figure in bronze, by Mil- 
let (the remains are now in the Pantheon). At the end, Thiboust 
(d. 1867), the dramatist, marble relief by Mathieu-Meusnier. A 
little to the right , Martin Bernard (d. 1883), 'representative of 
the people', medallion by Mathieu-Meusnier. — To the right of the 
Chemin Tro yon : Rouviere (d. 1865), actor; medallion and bas-relief 
by Pre*ault, representing the deceased as Hamlet. Left, Chaudey 
(d. 1871), editor of the 'Siecle', shot by the Communards; an ex- 
pressive medallion by Renaudot, with a quotation from the journal. 
Near by, Dr. Charcot (d. 1893). Right, Ward Family, with a large 
Christ in bronze. Left, Mene (d. 1879), sculptor. Right: Rostan 
(d. 1866), professor of medicine; marble figure in high-relief, by 
Schrceder. Larmoyer, also in high-relief. Left, Marc-Lejeune, a chapel, 
surmounted by a sarcophagus with four symbolical statues. Behind, 
Duchesse de Montmorency- Luxembourg (d. 1829), a large obelisk. 
Right , Polignac (d. 1863), artillery-officer, a large and rich chapel. 

Those whom time permits may descend to the Avende Samson by the 
flight of steps a little farther on. Right: Samson (d. 1871), actor, bronze 
bast by Crauk. Farther on, beyond the Avenue du Tunnel, to the left, 
Guslave Nadaud (d. 1893), the lyrist; to the right, Charles Fourier (see below). 
Then, in the 3rd row, Uupolet de Sennevoy, 'chef de P^cole magn^tique 
moderne'', with a fine marble bust by Bracony and bronze ornamentations. 
Adjacent, to the left, Guslave Ricard (d. 1873), painter, with a marble bust 
by Fcrru. 

The Avenue Samson bears to the left, and leads back to the Carrefour 
de la Croix, near the entrance. 

At the end of the Avenue des Anglais, the first diverging to the right 
from the Avenue Samson, are the remains of the composers Offenbach 
(d. 1880), under a rich monument of porphyry with a bronze bust, lyre, 
and palm, and Lio Delibes (d. 1891), with a medallion by Chaplain. 

Farther on in the Avenue Samson , to the right, Ducange (d. 1833), the 
author. In the Avenue Travot, to the right, Delphine Gay (d. 1855), the 
wife of Emile de Girardin, founder of the 'Figaro 1 ^ General Travol (d. 1830), 
marble bust by Dantan. — Then, in the Avenue Montmorency on the right, 
the brothers Edmond and Jules de Goncourl (d. 1870 and 1896), sarcophagus 
with medallions. — In the Avenue St. Charles, to the right (2nd row), 
Alfred de Vigny (d. 1863), the poet, and farther on (5th row), Alphonsine 
riessis (d. 1847), the 'Dame aux came'lias 1 of Alex. Dumas the Younger. 



From the cemetery we return to the Boul. de Clichy. Follow- 
ing it to the right we pass a bronze statue (by E. Derre*, 1899) 
of Charles Fourier (1772-1837), the founder of Fourierism, the ob- 
ject of which was the establishment of socialistic communities 
('phalansteres') in which capital, labour, and talent should combine 
for the common good. To the right, at the beginning of the Rue 
Caulaincourt, is the Hippodrome (p. 43 ; restaurant, p. 21). 



220 Bight Bank 9. BOULEVARD HAUSSMANN. 

In the Place de Clicliy (PI. B, 17; Metro Stat.) rises the 
Monument of Moncey } erected in 1869. This colossal group in 
bronze, by Doublemard , 19 ft. in height, on a pedestal 26 ft. 
high, adorned with bas-reliefs \ represents Marshal Moncey de- 
fending Paris, with a dying soldier beside him, in reference to 
the fact that the marshal distinguished himself in the defence of 
the capital in 1814. 

Opposite the monument of Moncey the Avenue de Clichy (with the Taveme 
de Paris, p. 24) ascends to the N., and farther on "bends to the. left, while 
the Avenue de St. Ouen turns a little to the right. To the left of the 
latter is the little Square des Epinettes (PI. B, 16), with monuments to Marie 
Deraismes (d. 1828-94), who championed the emancipation of women, by 
E. Barrias, and to Jean Leclaire (1801-72), by Dalou and Formige. Leclaire, 
a large manufacturer of paints, was the first to introduce the 'Profit-Sharing' 1 
system with his workmen, in the interest of whose health he eliminated the 
poisonous white lead from his preparations and substituted zinc-white. — 
Clichy (39,521 inhah.) and St. Ouen (35,436 inhab.) are uninteresting. The 
chateau of St. Ouen, where Louis XVIII signed his famous declaration of 
2nd May, 1814, no longer exists, heing replaced by a modern pavilion, 
and the park is now a Racecourse. 

A little beyond the Place de Clichy, to the left of the Rue de 
Clichy, is the Square Berlioz (formerly Square Vintimille; PL B, 17), 
with a bronze Statue of Berlioz (1803-1869), by Alf. Lenoir. 

The Boulevard des Batignolles prolongs the Boul. de Clichy to 
the "W. At its intersection with the Rue de Rome (Metro Stat.) 
stands the College Chaptal (PI. B, 14, 15), a handsome building in 
stone and coloured bricks, erected in 1866-72 by Train. Farther 
on begin the Avenue de Villiers (PI. B , 15 ; Metro Stat., Appx., 
pp. 30, 32) and the Boulevard de Courcelles (leading to the Pare 
Monceau, p. 222). A statue (by Rodin) to Henry Becque (1837-99), 
the dramatist, is to be erected at their junction. 

9. Western Quarters, to the N. of the Champs-Elysees. 

Metkopolitain Stations (Lines 3 & 2 N), see Appendix, pp. 32, 30. 

The Boulevard Haussmann (PI. B, 18, 15 ; II), the prolongation 
of which on the E., from the Rue Taitbout to the Rue Drouot (about 
300 yds.), will eventually connect it with the Grands Boulevards, is 
one of the imposing modern thoroughfares of Paris. In conjunction 
with the Avenue de Friedland (p. 76), by which it is continued to the 
(13/ 4 M.) Arc de Triomphe de l'Etoile, it forms a noble street about 
2 M. in length, and is the most direct route from the north-central 
part of the city to the Bois de Boulogne. It owes its name to Baron 
Haussmann (p. xxvii). 

The Chapelle Expiatotre (P1.B,18; II), in a square on the left, 
by the Rue Pasquier, was erected in 1820-26, from designs by Percier 
and Fontaine, to the memory of Louis XVI and Marie Antoinette, 
on the site of the old cemetery of the Madeleine, where their re- 
mains lay from 1793 to 1815, when they were removed to the royal 
vault at St. Denis. The Swiss guards massacred on August 10th were 
also buried there. 



ST. AUGUSTIN. Right Bank 9. 221 

The chapel (adm. daily 12-4 and frequently at other hours; fee to 
the keeper) contains two groups in marble. That on the right, by 
Bosio, represents Louis XVI and an angel who addresses him with the 
words, 'Fils de St. Louis, montet au del!'' Below is inscribed the king's 
will. The group on the left, by Cortot, represents the Queen supported 
by Religion , a figure which bears the features of Madame Elizabeth , the 
king's sister, who was guillotined on 12th May, 1794. Inscribed on the 
monument is the last letter addressed by the queen to her sister-in-law 
(comp. p. 184). — Over the portal is an allegorical relief by Lemaire, re- 
ferring to the removal of the ashes to St. Denis. 

Farther on the Boul. Haussmann intersects the Boulevard Males- 
herhes, from which the Avenue de Messine diverges on the right to 
the S. entrance of the Pare Monceau (p. 222). The Statue of Shake- 
speare, in "bronze, "by Paul Founder, erected at this point in 1888, 
was presented to the city of Paris "by Mr. W. Knighton. 

The Boulevard Malesherbes (Pl.R, B, 18; II; B, 15) is another 
imposing street, extending from the Madeleine to the fortifications 
(l 3 / 4 M.). — To the right in this boulevard rises the church of — 

St. Augustin (PL B, 15), built by Baltard in 1860-68, in a mo- 
dernized Romanesque style. The building is in the form of an 
irregular triangle, towards the base of which rises a dome 80 ft. in 
diameter and 165 ft. in height, crowned with an elegant lantern and 
flanked with four dome-covered turrets. The portal consists of three 
arches surmounted by a kind of gallery containing statues of Christ 
and the Apostles, by Jouffroy, above which are a rose- window and 
a triangular pediment. On the pillars are statues of prophets and 
doctors of the church, also by Jouffroy. 

Interior. The church has no aisles, properly so called. The nave 
preserves its width the whole way back, while the increasing width of 
the triangle is filled with chapels increasing in depth as they approach 
the choir. Above are galleries , which are continued under the dome. 
The nave is covered with a flat ceiling, borne by arcades of open 
iron-work, and the columns terminate in figures of angels. The high- 
altar, standing beneath a sumptuous canopy, is placed above a crypt, 
which also runs under the nave. The very short transepts terminate in 
chapels. In the nave are two paintings by D. Maillart: Baptism of St. 
Augustine (on the left), Death of St. Monica (on the right). The mural paint- 
ings are by Signol (in the cupola), Bouguereau, and Brisset; the stained 
glass by Marichal and Lavergne. 

In front of the church is a graceful Monument to Joan of Arc by 
Paul Dubois, a replica of that at Rheims; the inscriptions on the 
pedestal are in the old-French of the period. In the adjacent square, 
a bronze group by Mombur, representing 'A Rescue'. 

About 500 yds. farther on the short Avenue Velasquez, on the left 
of the Boul. Malesherbes, leads to the E. entrance of the Pare Monceau 
(p. 222). — At No. 7 Avenue Velasquez is the Musee Cernuschi (PI. 
B, 15), bequeathed in 1897 along with the house containing it to 
the city of Paris by M. H. Cernuschi. The museum (open daily, 
except Mon., 10-4 or 5) consists of a valuable collection of Chinese 
and Japanese works of art, of inferior merit to that in the Musee 
Guimet (p. 227), but interesting on account of the bronzes (upwards 
of 2400). Keeper, M. J. R. d'Ardenne de Tizac. No catalogue. 



222 Right Bank 9. PARE MONCEAU. 

First Floor, to which we ascend by the staircase to the left, leaving 
sticks and umbrellas. Rooms I- III. Furniture, kakemonos, a large bronze vase, 
figures in earthenware, vases of Bizen pottery (imitating bronze), and porce- 
lain; picture-books, small objects in ivory, bric-a-brac, masks. — Room IV. 
In the middle is a seated figure of the Buddha of Meguro, 14 ft. high, from 
near Tokio. In front, an enamelled perfume-burner and a desk-case with 
artistic sword-guards. On the window-side are three statues of Buddha and 
a large perfume-burner in the form of a dragon. Round three sides of the 
room, on stands, are fine Chinese and Japanese bronzes, some of great 
antiquity, especially those on the right wall. The smaller bronzes are in 
the glass-cases of the gallery. On the rear wall is a beautifully carved 
wooden balustrade, perhaps of the School of Zingoro. — Rooms V-VI. Por- 
celain. Bronzes. — A side-staircase descends to the Ground Floor, where 
two rooms contain Chinese and Japanese porcelain and stoneware. 

The *Parc Monceau, or Pare de Monceau (PI. B, 15), enclosed 
by a very handsome railing, has four entrances, the chief of which 
is in the Boul. de Conrcelles (Metro Stat), where a small rotunda, 
also called the Pavilion de Chartres, has been placed. 

The park owes its name to a property bought in 1778 by Philippe 
d'Orle'ans, surnamed Egalite", father of Louis Philippe, under whose 
directions it was laid out by Carmontel as a garden. It soon became one 
of the most fashionable resorts of the 'beau monde' ; balls, plays, and 
fetes of the most brilliant description were celebrated here. It is now a 
small park, tastefully laid out by Alphand (p. xxvii) in the English style. 

The park retains a few relics of its old attractions , snch as the 
Naumachie, an oval piece of water, flanked with a semicircular 
Corinthian colonnade, and now adorned with a bronze statue of 
Hylas, by Morice (1880). Not far off is a Monument to Quy de Mau- 
passant (1850-93), the author, with a figure of a woman reading at 
his feet, by Verlet. Near the Musee Cemuschi is a Monument to 
Ed, Pailleron (1854-99), the dramatist, with a bust and the figure 
of an actress, by L. Bernstamm (1906). To the right of the Avenue 
Van Dyck, near a bubbling spring, is the tasteful marble monument 
of Ambroise Thomas (1811-66), by Falguiere; the composer is seated 
on a rock, Mignon offering him flowers. In the transverse avenue on 
the right stands the marble Monument of Gounod (1818-93), byMercie' 
(1903); on a lofty pedestal is a bust of the composer, while grouped 
around are figures of Marguerite, Juliette, Sappho, and a genius dis- 
coursing music. Among the other sculptures with which the park is 
embellished are the Young Faun, by F. Charpentier; the Abandoned, 
by V. Cornu ,• to the right of the main walk, Boy playing with marbles, 
by Lenoir; to the left, the Snake-Charmer , by B. de la Vingtrie; 
Wounded lioness, by Valton; farther on, to the right, Wounded 
Cupid, by Mabille ; to the left, the Sower, by Chapu ; to the right, 
the Mower, by Qumery ; behind, the Reaper, by Oaudez. Not far 
off is a Monument to Chopin (1810-49), with relief-portrait of the 
composer and figures of Harmony and Night, by J. Froment-Meurice 
(1906). 

From the railings of the Pare Monceau facing the Avenue Van Dyck 
and the Avenue Hoche (PI. B, 12) we observe the gilded domes of the Russian 
Church (PI. B, 12), in the Rue Daru. This church was built in 1859-61 
in the Byzantine-Muscovite style, from a design by Kouzmine, and is in 
the form of a Greek cross. The church is open daily from 9 to 4 or 5 



BATIGNOLLES. Bight Bank 9. 223 

(fee), except daring service on Sun. and Wed. (11-12). The interior consists 
of a vestibule, a nave, and a sanctuary closed by an 'ikonostasis 1 adorned 
with paintings of Christ, the Virgin, and several Russian saints, by the 
brothers Sorokine and by Bronnikoff, The rest of the church is adorned 
with paintings of Scriptural subjects by the same artists and of prophets 
by Vassilieff. — The Avenue Hoche ends at the Place de VEtoile (p. 75). 



The Batignolles quarter, to the N. of the Pare Monceau, which 
was incorporated with Paris in 1860, is a favourite residence for 
artists, and contains many handsome and tasteful private residences. 
The traveller will find it worth while to inspect the Bue Prony 
(PI. B, 15, 11), opposite the principal entrance to the park, and 
several of the side-streets such as the Bues Fortuny and Montchanin, 
and lastly the Avenue de Villiers and part of the Boul. Malesherbes. 
In the Place Malesherbes (PI. B, 14) is a handsome mansion In the 
style of the 16th century. In the gardens flanking the avenue are 
bronze figures of the Genius of Music, by Bailly, and the Grief of 
Orpheus, by Verlet. Farther on is a bronze Statue of Alexandre Dumas 
the Elder (1802-1870), designed by Gustave Dore; the group in 
front represents Reading and behind is a Musketeer. Opposite 
rises the fine Monument of Alexandre Dumas the Younger (1824-95), 
by R. de Saint-Marceaux (1906); around the pedestal are symbolic 
figures, including the 'Dame aux camelias'. The Place Malesherbes 
is to be further embellished with a statue of General Dumas (1762- 
1807), by A. Moncel, and will then be called Place des Trois-Dumas. 

In the neighbouring Rue de Tocqueville is the Ecole des Hautes Etudes 
Commercialese in front of which is a small square with a bronze statue, 
by Moncel, of Alain Chartier (1383-1449), the poet. 

No. 145 in the Boulevard Malesherbes is the Lycie Carnot (PI. B, 11, 14), 
formerly the Ecole Monge. Farther to the N. is the Place "Wagram (PI. 11), 
embellished with a bronze statue, by F. de St-Vidal, of A. de Neuville 
(1835-1885), the military painter. The Place is situated above the Chemin 
de Fer de Ceinture , not far from the station of Courcelles - Ceinture 
(PI. B, 11). Close by is a monument (bust and reliefs) to Eugene Flachat 
(1802-73), the first French engineer to introduce metal in the construction 
of buildings, executed by A. Boucher. 

To theE., near the station of Batignolles (Appx., p. 45), is the Square 
des Batignolles (PI. B, 14), one of the largest in Paris, but not otherwise 
interesting. It has two fountains and bronze figures of Circe, by Michel, 
the Gladiator, by Ferrary, etc. 

The Avenue de la Grande - Armee (PL B, 9; Metropolitain 
Stat, see Appx., p. 30), in a direct line with the Avenue des Champs- 
Elysees on the E., leads to Neuilly. 

Neuilly, a suburb with 37,493 inhab., the N. portion of which 
was occupied prior to its destruction by the mob in 1848 by the 
chateau and park of Louis Philippe, is now covered with numerous 
tasteful villas. — The Fair of Neuilly, from about mid- June to 
raid- July, is very characteristic and attracts large crowds from Paris. 

Immediately beyond the fortifications is the Porte Maillot (PL 
B, 9 ; terminus of Line 1 of the Metro), the N. E. entrance to the 
Bois de Boulogne. A monument to Alfred de Musset, the poet 



224 Right Bank 9. NEUILLY. 

(1810-57), by P. Granet, was erected here in 1906. — To the right 
is the Chapel of St. Ferdinand (PL B, 9), a mausoleum in the By- 
zantine style, erected on the spot where Ferdinand, Duke of Orleans, 
the eldest son of Louis Philippe and father of the Comte de Paris, 
breathed his last in 1842, in consequence of a fall from his carriage. 
Admission daily; visitors ring at No. 13, nearly opposite the chapel 
(fee). Over the high-altar is a Descent from the Cross, in marble, 
by Triqueti. To the left is the Monument of the Duke, also by 
Triqueti, from a design by AryScheffer, with an angel by the prince's 
sister, Marie d' Orleans (d. 1839). The stained-glass windows were 
designed by Ingres. — At the Rond-Point de la Revolte, near the 
Porte des Temes (PI. B, 9), a monument by Bartholdi (1905) com- 
memorates the Balloonists of the Siege of 1871. 

Neuilly is traversed by the broad Avenue de Neuilly (PI. B, 6, 2), the W. 
continuation of the Avenue de la Grande -Armee. — At the Rond-Point 
d'Inkermann are the Romanesque Church of St. Pierre (PL B, 5), and a 
bronze Statue of Perronet (1708-94), builder of the Pont de Neuilly, Pont de 
la Concorde, etc., executed by Gaudez. In the Avenue du Roule, oppo- 
site the church, is a Statue of Joan of Arc, by Pe'chine. Close by is a Mairie 
(PI. B, 5), built in 1882-86 by Andre" in the Renaissance style. In the 
garden at the back is a bronze statue, by Gaudez, of Parmentier (1737-1813), 
who made his first experiments in the cultivation of the potato at Neuilly. 

From Neuilly a handsome Bridge (1766-1772) crosses the Seine to the 
N.E., 2 M. from the Arc de Triomphe (p. 76). On the opposite side of 
the river, to the right, is Courbevoie (p. 340), and to the left is Puteaux 
(p. 340), which are connected by another avenue, V2 M. in length, continuing 
those above mentioned as far as the Monument de la Defense (p. 340). 



10. Western Quarters, to the S. of the Champs-Ely sees. 

Metbopolitain Stations (Lines 1 and 2 S) see Appx., pp. 29, 31. — 
The Tramways from the Hotel de Ville to Passy (T J), to St. Cloud, Sevres, 
and Versailles (TAB), and from the Rue Taitbout to La Muette (TJT&nd 
TAO) may be used, and Steamboats also are convenient. 

At the S.W. corner of the Place de la Concorde (p. 65) begins 
the Cours-la-Reine (PI. R, 15, 12; 77, I), a promenade formed by 
Marie de Medicis in 1616, and constituting with the Quai de la 
Conference a single broad avenue. The quay derives its name from 
an old gate through which the Spanish ambassadors entered Paris 
in 1660, to confer with Mazarin on the betrothal of the Infanta 
Maria Theresa with Louis XIV. — To the right are the Petit Palais 
(p. 71) and the Grand Palais (p. 74); to the left, opposite the 
former, is a Monument to Armand Silvestre (1837-1901), the no- 
velist, with a bust and a group of the Graces, by A. Mercie (1906). 

The *Pont Alexandre Trois (PI. R, 15, II; at the end of the 
Avenue Alexandre-Trois), leading to the Esplanade des Invalides 
(p. 302), is the largest and handsomest bridge in Paris. The founda- 
tion-stone was laid by the Czar Nicholas II. in 1896, and the bridge 
was completed in 1900, by Resal and Ally, the engineers, and 
Cassien- Bernard and Cousin, the architects. The bridge consists of 
a single flat steel arch 352 ft. in length, and 130 ft. in width. At each 



PONT DE L'ALMA. Right Bank 10. 225 

end is a massive pylon, 75 ft. high, surmounted by gilded groups 
of Pegasi led by Fame, by Fremiet (right bank) and Granet and 
Steiner (left bank); these are flanked by groups representing France 
at different epochs of history, by Lenoir and Michel (right bank), 
Coutan and Marqueste (left bank), and by lions led by children 
(Gardet, right bank; Dalou, left bank). The allegorical groups in 
the centre of the aich are by Recipon; on the downstream side are 
the arms of Paris ; on the other those of St. Petersburg. 

Farther on is the Pont des Invalides (PI. R, 14, 15 ; II), dating 
from 1827-29 (restored in 1854-55), and adorned with Victories 
by Dieboldt and Villain. 

To the right, at the corner of the Cours-la-Reine and the Rue 
Bayard, is the little Renaissance palace known as the *Maison de 
Francois Premier (PI. R, 15; li), now private property. Francis I. 
caused this building to be erected at Moret, near Fontainebleau, 
in 1527, for the reception of Diane de Poitiers or, according to 
others, for his sister Margaret of Navarre, and in 1826 it was trans- 
ferred to its present site. The style of the facade recalls that of 
contemporary buildings in Yenice. On the groundfioor are threelarge 
arched windows , to which the three square-headed windows of the 
upper floor correspond. The ornamentation on the pilasters between 
the windows and at the corners, and the frieze of genii and me- 
dallions are singularly rich and elegant. In the centre of the frieze 
appear the arms of France and Navarre. The back is also worthy of 
inspection, but the sides have been modernized. — In the adjoining 
Rue Bayard, No. 17, is the Scottish Presbyterian Church (p. 57). 

To the N. of the Cours-la-Reine is the Rue Jean-Goujon which attained 
a melancholy celebrity in May, 1897, owing to a terrible lire at a charity 
bazaar, in which 132 persons perished. A memorial chapel, called Notre 
Dame -de -Consolation (PI. R, 12; I), has been built in tbe Louis XVI 
style, from Guilbert's designs, on the site of the disaster (open 2-4 or 5 
except Mon. and the first Frid. in each month). The fine diorama in the 
dome is painted by .4. Maignan; the sculptures are by Daillion, Hiolin, Fran- 
ceschi, Moses Ezekiel, etc. Bas-reliefs in old silver adorn the Stations of 
the Cross. There is a monument to the Duchesse d'Alencon. — Close to 
the entrance of the Rue Jean-Goujon is an Armenian Chapel (PI. R, 15; II), 
designed by A. G-uilbert (1903-5) in the style of the temple of Akhtamar, 
the facade of which has an attractive loggia for the bells, resting upon 
two heraldic eagles. In the central rotunda are eight fine interlaced arches, 
supporting the octagonal tower. The pictorial decoration is by Paul Leroy, 
the painter of oriental subjects. 

The Pont de 1'Alma (PI. R, 11, 12; I), at the end of the quay, 
was built in 1856 and named in memory of the Crimean campaign. 
The buttresses are embellished with handsome figures of a zouave 
and a private of the line by Dieboldt, and an artilleryman and a 
chasseur by Aug. Arnaud. From the bridge the Avenue Montaigne 
leads to the N.W. to the Rond-Point des Champs-Elysees (p. 75). 

The next quay, the Quai Debilly, which is called after the gener- 
al of that name who fell at the battle of Jena, leads to the foot of the 
Trocadero Park, passing on the right (No. 18) the Manutention Mili- 

Baedekeb. Paris. 16th Edit. 15 



226 Right Bank 10. MUSEE GALLIERA. 

take (victualling-office), formerly the Savonnerie (p. 333), and on 
the left the PassereUe Debilly or de la Manatention, a footbridge 
-widened in 1903-5. We, however, follow the Avenue du Troca- 
dero on the right. 

The *Musee Galliera, or Brignole-Galliera (PI. R, 12 ; J), on the 
right of the Avenue du Trocadero, is an imposing building in the 
Italian Renaissance style, by Oinain, erected by the munificence of 
the Duchess of Galliera (d. 1888), who, however, subsequently 
bequeathed her valuable art-collections to the city of Genoa. The 
facade towards the avenue is embellished with statues of Sculpture, 
Architecture, and Painting, by Cavelier, Thomas, and Chapu. There 
are other sculptures at the sides : to the right, Pan, by Becquet, 
The Earth, by A. Boucher; to the left, Education of Bacchus, by 
Perraud, Patronago and the Future, by Icard. In front of the 
facade is the Fountain of April, by Pierre Roche (1906). — The 
entrance, which is in the Rue Pierre-Charron (No. 10), is preceded 
by a small square with a bronze group representing 'Wine', by Hol- 
weck. The museum contains the nucleus of a municipal art-collec- 
tion, but is mainly devoted to temporary exhibitions of works of 
applied ait (usually for sale). Open free daily, except Mon., 10-4 
or 5. Curator, M. Eugene Delard. 

The Galerie de la Cogk, which is entered from both sides of the 
vestibule, contains sculptures and models by Demaille, Boisseau, Hugues, 
A. dPHoudain, and E. de Gaspary (on the right) and by Vital Cornu, Le- 
vasseur, Peyrol, Chatrovsse, Lebattut, and Pizieux (on the left). 

Vestibule. Marble statues: Gilbert, Daphnis and Chloe; E. Fontaine, 
Fascination^ Vital -Cornu, A woman; Ch. Perron, Wreckage; Bayard de la 
Vingtrie, Pandora. To the right and left of the door, two large 'Beauvais' 
vases. 

Large Saloon. This and the following rooms chiefly contain Tapestries.. 
The best are the five tapestries of SS. Gervais and Protais, hung above the 
others. These were executed in the studios of the Louvre about 1650-1655, 
i.e. shortly before the establishment of the Gobelins (p. 332), and represent 
the flagellation of the saints, after Le Sueur; their execution, after S. Bour- 
don ; the translation of their relics, their appearance to St. Ambrose, and 
the discovery of their relics, after Ph. de Champaigne. In the upper rows 
also are: Month of August, from the studios of the Faubourg St. Marcel 
(17th cent.), after Van Orley's 'Chasses de Maximilien , (see p. 399); Summer, 
or the Triumph of Ceres (Gobelins), after a painting by Mignard destroyed 
with the palace of St. Cloud (p. 346); Ulysses recognizing Achilles, after 
Coypel (Brussels; 177S). Below, from right to left: Achilles armed and 
consoled by Thetis, after Coypel (Brussels; ca. 1775); Gipsy camp, The 
Falconer, after Casanova (Beauvais; 1770 and 1774); Bivouac : Striking camp 
(Gobelins ; 1763) , after Audran ; Snares of Marriage . Repast (Faubourg 
St. Marcel; ca. i600); Swoon of Armida (Gobelins; 1739), after Coypel. — 
To the left, below, Summer, and a Pastoral Scene (Gobelins). — In the 
centre is a marble statue of Diana, by A. Boucher. — The glass-cases con- 
tain modern articles which are changed from time to time. Central Cases : 
porcelain and earthenware by Chaplet, Carries, Georges Jean, and Delaherche; 
glass by L. Tiffany; pewter articles by Baffier, Besbois, Charpenlier , and 
Ledru; chased silver casket by Barri; goblet (Woman and dog) and tray 
(Comparison) by Vernier; f cameos (Cupid cold, Aurora) by H. Allouard; 
miniatures by GranU. Sculptures: Moncel, Fantasy; Marioton, Statuettes; 
Pierre Roche, Reliefs ; Balou, Bust of A. Renaud. 

Next Gallery. Ancient Tapestry : in the middle, Rape of Helen, after 



MUSEE GUIMET. Bight Bank 10. 227 

Coypel (Brussels; 1775); to the right, The Endangered Slumber; left, Pan 
and Amymone, after Boucher (G-obelins). Below, modern works of art by 
Carries, Chaplet, Bammouse, Belaherche, and others. Sculpture: Ghatrousse, 
History recording the centenary of the Revolution; E. Bumont, Love torment- 
ing the Soul; Pizieux , Oh Youth! Statuettes by Savine, Levasseur, and 
others. The glass-cases contain works of art by Gaulard, Tonnelier, Mad- 
rassi, Ch. Rivaud (rings), etc. At the end to the left, stained-glaes windows 
by Henri Carot, etc.; at the end to the right, Autumn, a stained -glass 
window by Rudnicki. Works in pewter, by Baffler. Large vases of 'flamme' 
earthenware, by Balpayrat and Lesbros. — The Small Rooms at the ends 
contain a Tapestry: March, from the studios of the Faubourg St. Marcel, 
and works of art by Marioton, Bourgeot, Th. Riviere, Armand Point, Bespret, 
Lemaire, and others; and (in the 2nd room) vases and statuettes: Charpenlier, 
Song; Carles, Youth; Riviere, Salammbo. 

Last Room, next the vestibule, varying exhibitions. 

In the Place d'lena, to the W\ of the museum, an Equestrian 
Statue of Washington, by Dan. French, was erected in 1900, at the 
cost of the women of America (comp. p. 230). Here also is the — 

*Musee Guimet (PI. R, 12; /), a handsome edifice not devoid 
of originality, with a rotunda at the angle, surmounted by a colon- 
nade and cupola. It contains the extensive and valuable collections 
presented to the state in 1886 by M. Em. Guimet of Lyons, con- 
sisting mainly of a Museum of the Religions of India and Eastern 
Asia, but including also a Library and collections of Oriental Pot- 
tery (comp. pp. 168, 221) and of Antiquities. — The museum is 
open daily, except Mon., from 12 to 5 (4 in winter), and is divided 
into the Boissiere section and the Iena section (from the streets on 
which they front). Only one section of the groundfloor and second 
floor is shown on any one day, but the whole first floor is open 
every day. The library (27,000 vols.) and the students' room are 
open daily 12-4 or 5, except on Sun. and Mon. Curator, M. L. de 
Milloue. Explanatory labels are attached to the cabinets, setting forth 
the general divisions, and in certain cases to the individual exhibits. 
Short illustrated catalogue (1905), 1 fr. ; descriptive notice of the 
objects found at Antinoe, by Al. Gayet (1902). Sticks and umbrellas 
must be given up (no fee). 

Ground Floor. Rotonda. In the centre is a Roman bust of Osiris, 
around which are busts from the Villa of.Hadrian, near Rome. To the left, 
Gallo-Roman sepulchral altar (Nimes), etc. Paintings and studies by F. R<5- 
gamey and L. Dumoulin. 

Galerie d'Iena, to the right: * Chinese tottery. — 1st Section: Develop- 
ment of the manufacture. Case 1. Celadon (the earliest specimens) from 
Nankin (15th cent.). Case 2. Chinese pottery and turquoise-blue enamels 
manufactured at a high temperature. Case 3. 'Crackle 1 porcelain. Cases 4&5. 
Modern ware from Nankin and Canton. Case 6. Imitations of ancient por- 
celain. Flat cases to the left of the entrance: Chinese bottles found in 
Egyptian tombs of the 19-20th dynasties (9th cent. B. C). By the wall, 
large lacquer screen representing a fete at the Summer Palace. — 2nd Sec- 
tion: Development of colour. Case 7. Earthenware (wrongly styled 'boc- 
carcs'), Chinese white and ancient blue porcelains. Cases 8-13 (as we 
return). Blue, red, green, yellow, pink, and other varieties. Case 14, to 
the right, Chinese porcelain with European designs. Central case, ancient 
carved lacquer-work from Pekin; variously decorated china. — 3rd Section: 
Chronological collection from the Sung dynasty (960-1279) to modern times, 
the finest dating from the time of Khien-Long (1736-69; Case 17). 

15* 



228 Kiahl Bank 10. MDS^E GUIMET. 

Galerib Boissiere, to the left: ^Japanese Pottery and Bronzes, arranged 
according to artists and provinces. — 1st and 2nd Sections : Case IB. Korean 
pottery; in the middle, 'Bronze lantern from a temple, large lacquered porce- 
lain vase. Case 2 (to the r. of the door), articles used in the ceremony of 
making and serving tea. The ritual of this ceremony dates from the 16th cent., 
and the various gestures and expressions may be used only over the tea. 
In the centre is the master of ceremonies (Chajin). Case 8. Seto. Case 4. 
Korea and Soma. Cases 5-9. Tokio, Owari, etc. — 3rd <fe 4th Sections: 
'Dagaba' or bronze reliquary, of the 16th cent.; vases and kakemonos 
(paintings on silk). Cases A-N contain a collection of 'kogos', or incense- 
boxes. — 5th Section: Case 13. "Banko 1 fayence by the artist Gonzaeinon. 
Oases 14 <fc 15. Province of Kaga. Case 16. 'Baku' fayence ; large lacquered 
vase in fayence. — 6th Section: modern ware from Kioto; Bizen stoneware 
in imitation of bronze. — 7th Section: fayence made by amateurs; at the 
end, works by the potter Ninsei (17th cent.); bronze lamp similar to the 
one at the entrance. 

The Court, reached by a door under the staircase, contains casts of 
the large door of a Buddhist temple at Sankhi. 

The Galbkie du Siam et du Cambodge, at the end of the court, is 
open only on Sundays , from the first Sun. in December to Easter Sunday, 
iuclusive. The four rooms contain models of temples and palaces, etc., 
sandstone statues of Brahman deities, and a collection of Buddha-padas 
(footprints of Buddha). 

First Floor. In the Rotunda is the Library. At the entrance are sta- 
tues of Mondshu and Fughen, the two chief disciples of Buddha, upon a 
lion and an elephant; and two reliquaries. The Paintings in the Rotunda 
and following galleries, by Re'gamey, represent Oriental scenes, religious 
ceremonies, priests, etc. 

The Salle pes Parsis, to the left of the entrance to the Galerie d'le'na, 
contains a group of Parsees with various implements used in the ceremony 
of the Yasua, and a model of the 'tower of silence 1 , at Bombay, in which 
the Parsees, who are Zoroastrians, expose their dead to be devoured by 
vultures. 

Oalkrie d'I£na, to the right, as we face the staircase: "Religions of 
India and China. — Room I. Vedic religion, Brahminism, and the modern 
Hindu religion (cult of Brahma, Vishnu, and Siva, the triad representing 
the creating, preserving, and destroying principles). Wood- carvings from 
chariots of Brahma; articles used in religious services; representations of 
temples. In the centre is a bronze figure of Lakshmi, the Indian Venus 
(16th cent.); to the left, a reenmbent Vishnu. — Room II. Buddhism, the 
worship of Sakya-Mooni or Buddha, the 'perfect sage\ 1st Section: In the 
centre, bronze "Statuette of Siva. In Case 8, Ganessa, god of science, with 
four arms and an elephant's head. Cases 9-11. Statuettes, MSS., sacred 
books and paintings, articles used in worship. Case 12. Jainism, allied to 
Brahmanism. Case 13. Marionettes and ornaments from Java. — 2nd Section : 
to the left, Lamaism, or Tibetan Buddhism, in which spirits, demons, 
and magicians play a prominent part. Case 14. Mandala, or representation 
of the world in bron/.e-gilt. Cases 15 and 16. Statuettes: Jigsbyed, a god 
with ten heads, thirty-four arms, and sixteen legs, holding a woman with 
three eyes; Pakinis, goddesses of evil, with lions' heads and fiery hair. 
To the right, Religions of China. Case 17. Buddha in his three states: 
birth, penitence (fine bronze statuette, 18th cent.), and transfiguration; 
transformations and cult of Kouanyin, god of charity (admirable bronze- 
gilt statuette, 17th cent.). Case 18. ^Drawing dating from 10S1, illustrating 
the legend of the ogress Hariti. Case 20. Kouanyin in his various avatars: 
man, woman, devil, etc. Continuation of Cases 14-16. Religions of Tibet 
and Mongolia. Case 21. Statuette of the philosopher Lao-Tse, founder of 
Taoism, on a buffalo (16th cent.). Cases 22, '23. Inferior deities and spirits. 
Case J4. "Eleven boxwood statuettes (ISth cent.) , representing celestial 
deities; paintings on silk; Chinese coins, the most ancient, in the shape 
of bells, dating from a period prior to 2000 B. C. Case 25. Indian deities. 
Case 26. Taoism, or Chiuese pantheistic idolatry ; statuettes, MSS., coloured 
drawings, geomantic compasses (for soothsaying). Case 27. Confucianism, 



MUSEE GUIMET. Right Banlc 10. 229 

the imperial religion in China, involving ancestor-worship. Central case. 
Reproduction of the temple of Ava, which belonged to the high-priest of 
Mandalay (Burma). — Room III. "Salle de Jade or Gem Room, with 
numerous articles of jade, a stone highly prized in China, many of which 
come from the imperial Summer Palace in Pekin. The highly ornate articles 
resembling croziers are mandarins' sceptres. Many other valuahle objects. 
Case 29 (to the right on entering). Beautiful urns used in ancestor-worship. 

Galeries sur Cour (i.e. looking on the court). Jndo-China Collections. 
1st Section: Cambodia (mixed Brahminism and Buddhism). — 2nd and 
3rd Sections: Laos, Burma, Siam (pure Buddhism), Annam and Tonkin 
(mixture of Taoism and Buddhism). Statues, statuettes, MSS., books, musical 
instruments, fans, coins, etc. — 4th Section: Shamanism (witchcraft); Si- 
berian Buddhism ; and religion of the island of Amoy (marionettes for 
mystery-performances). — Rotunda. *Model of a temple in Amoy; religious 
scenes; marionette-theatre. — The second gallery (Salle des Laques) con- 
tains the end of the Japanese Collection, which begins in the Galcrie Boissiere : 
combs, comic statuettes, medicine-boxes, sabres and hilts, lacquered boxes, 
etc. — We now pass through the Galerie Boissiere, in order to begin at 
the end next the staircase. 

Galerie Boissiere: "Religions of Japan. — Room I. 1st and 2nd Sec- 
tions : fine statue of Ida-Ten, god of prayer and peace. Shintoism (to the 
left), the national religion, which has no idols but only symbols of the 
Supreme Being, and the temples of which are always closed; Buddhism, 
six different sects; statues, statuettes, textile fabrics, priests' 1 vestments; 
fine bronze statuettes, books, paintings; statuette of gilded wood (12th cent. ; 
Case 5) and kakemonos (Case 7). At the end of the 2nd section are two 
statues of the god of travellers (one in bronze, the other in black wood) 
and two bronze vases, with representations of the death and ascension of 
Buddha. — Room II. Model of a * Mandara or pantheon, with nineteen 
personages representing the principal Buddhas. The central group represents 
Dainiti, the highest perfection, and beings who have become 'buddhas 1 , 
with the eye of wisdom in the centre of their foreheads ; those to the right 
and left represent their transformation into beings whose end is the salva- 
tion of souls by gentleness or by violence. Around are brasiers, fountains, 
gongs, statue of Sakya-Mooni dying. By the walls are seven large statues 
on pedestals and twelve figures in carved wood, representing the hours of 
the day and the signs of the Zodiac. — Room III. 1st Section: Japanese and 
Chinese legends. Curious and grotesque statuettes, often of admirable 
execution i Case 14, *Devil turned monk in his old age (note the broken 
horn); bell-bearer with long legs; fox as priest; in Case 15, the philosopher 
Tekiai breathing forth his soul; in Case 17, gods of good fortune. — 
2nd Section: bronze statue of Yiso, guardian deity of children; historical 
articles, very interesting statuettes; lion and lioness as guardians of a 
temple (13th cent.); wooden statue of a pilgrim (to the left). — Room IV. 
Chapel in gilded wood; statues of Amida, one of the immortal 'buddhas 1 ; 
weapons. In the centre, curious figure of the philosopher Dharma rising 
from his tomb. Behind, bronze statues (18th cent.) including the philo- 
sopher as beggar (the little flag in his mouth represents his soul); men 
with long legs and arms. At the back, some fine large paintings. 

Second Floor. The Rotunda, supported by caryatides, contains Paint- 
ings (titles given), by Regamey. "Collection of objects found in 1896-1903 
during the excavations in the Necropolis of Antinoe or Anlinoupolis, the town in 
Egypt founded by Hadrian on the spot where his favourite Antinous drowned 
himself. Body of a Greek woman named Thais, clothed in her gala-dress, with 
gold-embroidered shoes on her tiny feet; roses of Jericho, bouquet of immor- 
telles, jar containing wine from Mike, and necklaces of real pearls found 
in ThaiVs sarcophagus. This Thai's is not to be confounded with the 
celebrated hetaira of that name, who lived in the 4th cent. B.C. — Ad- 
jacent, Body of the hermit Serapion, clothed, with enormous iron rings round 
his arms, legs, and waist, the last connected by a bar with the collar 
encircling his neck. To the right of the entrance, painted shroud with the 
life size portrait of Thai's holding a cross; in the case farther on, Christian 



230 Right Bank 10. TROCADERO. 

fabrics from Antinoe, and a well-preserved hermit's head 5 to the left, 
fragment of a veil from a sanctuary at Antinoe representing Bacchus and 
a goddess. Then a case containing the costume of a Roman female musician, 
and other articles of the Roman period. — Opposite Thai's, on the other 
side of the rotunda, are two cases with articles found in Egyptian, Roman, 
Byzantine, and Coptic tombs at Antinoe : Case 9. Mummy of Leukyone, 
dating perhaps from the reign of Heliogabalus, of the type known as 
'white mummies 1 , i.e. not embalmed and not treated with bitumen. She is 
in a dress of greyish yellow and wears a woollen veil; gilded eyes bave 
been inserted. On the right are an image or emblem of the cuit. of Isis 
found with the mummy; twelve Gra?co-Egyptian figurines; a small naos 
(cella); phallic collar composed of fifteen Isiac heads ofVeuus. On the left, 
clothed mummy of a Christian Byzantine lady. # 

Galerie d'Iena : Japanese Paintings, drawings, albums, and engravings 
(chiefly ISth and 19th cent.), and some admirable sculpture. Then, Qraeco- 
Roman Antiquities: Statuettes of Bacchus, Apollo, Juno, and ^Esculapius ; 
busts (fine Greek head by the window to the right; period of Pericles). 

Galerie sur Cour (closed). Gallo- Roman bronze vases found at 
Vienne (France); gold ornaments; cut stones; Etruscan vases with black 
background; votive statuettes of bronze. Antiquities from Cappadocia. 
Curiosities from Korea. Ancient glass from Syria (Durighello Collection); 
Phoenician, Egyptian, Roman, Semitic, Byzantine, GrGeco-Syrian, and Arabian 
glass. — Turning back, we enter the — 

Galerie Boissiere: Egyptian Antiquities. Coffins with mummies; ob- 
jects found in graves; reproductions of sepulchral paintings (ca. 2500 B.C., 
descriptions at the sides). Marble statue of Diana of Ephesus (copy exe- 
cuted in the 17th or 18th cent.); small bronzes; historical and sacrificial 
articles; Roman statue of Isis; articles of the toilet; buckles and mirrors; 
figurines (enamelled); Assyrian cylinders and engraved stones ; at the end, 
Alexandrian deities, etc. 

A little to the right of the Muse'e Gruimet the Avenue d'Ie*na 
passes the Place des Etats-Unis (PL R, 12; 7), at the other end of 
which is a fine bronze Group of Washington and Lafayette, by Bar- 
tholdi, presented by several Americans in 1895 in commemoration 
of the aid of France in securing the independence of the United 
States. Thence the Rue Galilee leads to the left to the Avenue 
Kleber, not far from the Rue Boissiere station of the Metropolitain. 

The *Trocadero (PI. R, S; I) is a height on the right bank of the 
Seine, opposite the Champ-de-Mars, bearing the name of one of the 
forts of Cadiz captured by the French in 1823. Napoleon I. contem- 
plated the erection of a palace here for the king of Rome, but it was 
not until the Exhibition of 1867 that the site was levelled, the con- 
struction of the present edifice and the laying-out of the park being 
postponed until that of 1878. 

The Avenue du Trocadero ends at the top of the eminence , in 
the Place du Trocadero (PI. R, 8, 9, I; tramways and Me'tropolitain, 
see p. 2'24), behind the palace. This Place is the converging-point 
also of the Avenue Kleber, coming from the Arc de Triomphe de 
l'Etoile (p. 75), the Avenue Malakoff , coming from the Av. du 
Bois de Boulogne (p. 236), and the Avenue Henri-Martin, coming 
from the Bois itself (p. 236). A military band plays here on the 
third AVed. in June, July, August, and September. — The Avenue 
d'L'na, on the other hand, leads from the Musee Guiniet to the park 
in front of the palace. 



TROCADlSRO. Right Bank 10. 231 

The Palais du Trocadiro (PI. R, 8 ; I) is a huge huilding in 
the Oriental style, designed hy Davioud and Bourdais. The cen- 
tral portion consists of a circular edifice, 63 yds. in diameter and 
180 ft. in height , flanked by two minarets 230 ft. high and two 
curved wings furnished with galleries, 220 yds. in length, the whole 
edifice thus presenting the appearance of an imposing crescent. The 
terrace in front of the central building is embellished with six 
figures in gilded bronze: Europe, by Schoenewerk , Asia by Fal- 
guiere, Africa by Delaplanche, N. America by Hiolle, S. America by 
A. Millet, and Oceana by Moreau. Below the terrace gushes forth a 
large *Casoadb , which descends to a huge basin surrounded by a 
bull, a horse, an elephant, and a rhinoceros in bronze, by Cain, 
Rouillard, Fremiet, and Jacquemart. Under the arches flanking the 
cascade are allegorical figures of "Water, by Cavalier, and Air, by 
Thomas. On a level with the spring of the dome is another gallery 
adorned with thirty statues representing the arts , sciences , and. 
various industries. The dome itself is surmounted by a colossal 
statue of Fame, by A. Mercie. 

The Galleries (cafe-buffet) and Balconies command an admirable view 
of Paris (best at sunset). Visitors may ascend by a lift (50 c, on Sun. 
25 c.) to the top of the N.E. tower. Concerts are often given in the ela- 
borately-decorated Salle des Fetes, which contains an immense organ by 
Cavaille'-Coll and has seats for 6000 persons (adm. at other times by order 
from the secretary of the Beaux-Arts, Rue de Valois 3, Palais-Royal). 

The Palais du Trocadero contains important museums of Comparative 
Sculpture (casts) and of Ethnography. — The *Musee de Sculpture Comparee, 
or Muse'e des Moulages, occupies the left wing, next to the Place, and part of 
the right wing of the building. It is open as a rule 11-5 (in winter 11-4), 
daily except Mon.$ the library (1200 vols.) and collection of drawings by 
Viollet-le-I)uc are open at the same hours, daily except Sunday. The cast3 
illustrate different phases of sculpture, from Romanesque to Gothic, developed 
by French art, and are arranged chronologically. Explanatory labels are 
attached to each cast. The rooms are designated by letters (A, B, etc. ; 
corresponding letters in the catalogue). Catalogue (1900), 1 fr. ; Illustrated 
Catalogue of the Monuments of the 14 -15th cent. (1892), 4 fr. Curator, 
M. G. Enlart. In the Atelier des Moulages good copies of the sculptures 
may be bought. 

The Musee Cambodgien, or Musee de Monuments Khmers, is situated in 
the other wing of the palace, beyond the Rotunda and after Room N of the 
Musee de Sculpture Compare'e. The shortest way of getting from one 
wing to the other is to pass through the Place. — This collection, which 
is open at the same hours as the museum of casts, consists of original 
sculptures, casts, and reproductions of Monuments of the Khmers, the 
ancient inhabitants of Cambodia. Though fantastic in conception, their 
ideas of art were not without grandeur. Their subjects were taken chiefly 
from the animal and vegetable kingdoms, the 'naga 1 , a colossal hydra with 
seven heads, the three-headed elephant, and the lion being the favourite 
motives. The finest Khmer monuments date from the 6-llth cent, of our era. 

Room I. At the end of the room the entrance to a Khmer sanctuary 
is reproduced, with a statue of Brahma in the middle. Right wall, false 
door from Prah Kou (9th cent.) flanked by 'apsaras' 1 or deified bayaderes 
(Loley)-, farther on, Brahman deity seated on a seven-headed 'naga' (Prak- 
han). Opposite the door, reconstructed turret from the temple of Baion 
at Angkor-tom (Siam), adorned with the quadruple face of Brahma. Left 
wall, false door from Me Boune ; execution of a condemned man by an 
elephant, bas-relief from Prakhan. — Boom II. The case to the left con- 
tains an ancient helmet from Phnom-Pen: an antique Khmer statuette 



232 Right Bank 10. TR0CAD14R0. 

(Travinh); Vedic Triniurti, in bronze; funeral vases and urns from Angkor. 
Farther on, reproduction of the main entrance to the temple of Angkor- 
vat. Then small bronzes; silver plaquettes with reliefs of Buddha. Rear 
wall, reconstruction of a gallery (painted in colours) from tbe sanctuary 
of Angkor-vat; above the door, Devas and Assuras churning the sea. To 
the right are monuments from Beng-Meala. — Room III. Continuation of 
the Angkor-vat gallery. Between the doors is a polychrome relief of a 
royal barge. On the wall to the right, relief of a princess borne in a 
palanquin, with her suite. A large glass-case contains a "Relief of the 
temple of Baion (p. 231), painted and gilded, on a scale of 1 : 100. — Re- 
turning to Room II, we descend the staircase to the Lower Ground Floor, 
devoted to larger Cambodian antiquities. 

The Ethnographical Museum is on the first floor, behind the rotunda. 
It is generally open on Sun., Tues., and Thurs. 12-4 or 5, but may be 
seeu also on Mon., Wed., and Frid. 10-12 by feeing the custodian. It is 
reached by tbe staircases opposite the entrance to the Musee de Sculpture 
Comparee. The exhibits are labelled. Arrangement frequently changed. 
Curators, Dr. Hamy and M. Landrin. 

The staircases are lighted by handsome stained-glass windows (inscrip- 
tions). We begin on the left side, coming from the Place du Troeadero. — 
1st Vestibule. Casts of statuary from Santa Lucia Cosumalhuapa (Honduras) ; 
Indian hut from Tierra del Fuego; objects from. Oceana and Africa, models 
of natives, constructions, etc. — Room on the left of the staircase, or on 
the right as we return. Africa. Great variety of objects from If. (Algeria, 
Tunis), S., and Central Africa. In the middle, plans in relief of Algerian 
tombs and of a subterranean palace in Tunis; curious statues of three 
kings of Dahomey and a deity of Whydah. — Galleries on the opposite 
side. America. Left-hand gallery : Canoes used by Indians on the Orinoco, 
twenty-one figures of male and female Indians; rude sculptures, fabrics, 
utensils, vases, etc. Main gallery. 1st section: Indian tribal figures, weapons, 
etc. from the Guianas. The three following sections are devoted to mummies, 
vases, and other objects from Peru and Ecuador. 5th section : similar 
objects from Venezuela, Colombia, and Central America. 6th section: 
sculptures, fliuts, and bronze axes from Mexico. In the centre, facsimile of 
a Mexican MS. 7th section: Mexican antiquities continued, including a 
curious terracotta statue of a Toltec divinity with pastillage decoration. 
Sth section: flints, weapons, and vases from New Mexico, California, etc. 
9th section: figures, textiles, and so forth, of Indian communities in the 
United States and Canada. — 2nd Vestibule. Europe. Curiosities from Italy, 
Greece, Spain, Switzerland, Galicia, Servia, Germany, Albania, Sweden, 
Norway, Lapland, Iceland, Russia, and Finland. — In the next Room: 
France. Curious specimens of *Costumes, ornaments, and implements: on 
the right, Shepherd from tbe Landes ; Woman from Aube ; Breton interior 
(12 figures); Breton head-dresses; left, Group from Ariege; right, bead- 
dresses and utensils from Alsace and Lorraine; Group from Savoy ; Woman 
from the district of Bourges; Auvergne interior (11 figures); Mountaineer 
from Aveyron; left, Group from Normandy ; right, Lapidary of St. Claude 
and woman of Besaneon; Burgundian interior [1 figures); Groups from 
the Pyrenees (7 figures') and the Alpes Maritimes. 

The staircase on this side is occupied with objects from Turkey, Por- 
tugal, the Balearic Isles (cyclopean monuments), Labrador, Alaska, and 
Greenland ; models of two Esquimaux. — A gallery on the 2nd floor (closed) 
is to be appropriated to exhibits from Oceana. 

The Parc du Trocadbro slopes down from the palace to the 
Seine. — To the left of the Troeadero is the Aquarium, properly a 
fish-breeding establishment (tench, salmon, etc.), open daily 10-4, 
except Mon.; entrance Boul. Delessert. Above is a small garden in 
the Japanese style. The public are not admitted, but it can be 
viewed from the upper part of the park. 

Below the middle of the park the Seine is crossed by the Pont 



PASSY. Right Bank 10. 233 

d'lena (PI. R, 8 ; I), constructed in 1809-13, by Lamande, to com- 
memorate the victory of that name (1806) and widened by 33 ft. 
in 1900. It is adorned with eagles and with four colossal horse- 
tamers (Greek, Roman, Gaul, and Arab). — Beyond the bridge is 
the Champ-de-Man (p. 312), with the Eiffel Tower. 



Fassy, in which the Trocadero is situated, is connected with 
the left bank of the Seine by the Points de Passy (Metro, see p. 234) 
and de Orenelle (p. 234). Its lofty and healthy situation and its 
proximity to the Bois de Boulogne have long made it a favourite place 
of residence, and it contains numerous handsome private mansions. 

The Avenue Henri-Martin (PI. R, 8, 9, 6), which leads from 
the Trocade'ro to the Bois de Boulogne (ca. 1 M.), is the principal 
thoroughfare of Passy. To the left, on a height to the W. of the 
Trocadero, lies the Cemetery of Passy (PL R, 8 ; I), containing some 
fine monuments (entrance, No. 2 Rue des Reservoirs). Farther on 
the Avenue Henri -Martin passes the large Lycee Janson de Sailly 
(PI. R, 9, 6), on the right, and the Mairie of the 16th Arrondissement 
(Passy; on the left), the latter of which contains paintings by Ch. 
Chauvin. Farther on, to the right, between this Avenue and the 
Avenue Victor-Hugo, is a square with a Statue of Lamartine 
(1790-1869), in bronze, by M. de Yasselot (1886), and the Monument 
of Benjamin Godard (1849-95), the composer, consisting of a 
marble bust with bronze figures of Tasso and Eleonora d'Este, by 
J. B. Champeil (1906). In the same square is the Artesian Well 
of Passy (covered). At the point where these avenues meet, a few 
yards beyond, is the Avenue Henri-Martin Station (PI. R, 6) of the 
Ohemin de Fer de Ceinture, whence the Ligne du Champ- de-Mars 
diverges (see p. 314). 

The Porte de la Muette, at the end of the Avenue Henri-Martin, 
is one of the chief entrances to the Bois de Boulogne on this side. 
The pretty park of La Muette (PI. R, 5), whence Pilatre de Rozier 
(1756-85) made the first balloon -ascent in 1783, is closed to the 
public. 

In the time of Louis XIV this was a hunting -lodge ('de la Meute -1 ). 
Philippe d'Orle'ans, the regent, built a one -storied house there for his 
daughter, the Duchesse de Berry, who rendered it famous by her 'apres- 
diners de la Muette'. The second story and the garrets were added by 
Louis XV, who held high revels there; it is associated with the residence 
of Mme. Dubarry and afterwards of Louis XVI. It now belongs to the 
Comte de Franqueville. 

Near it, on the S.W., is the Ranelagh, a triangular grass-plot 
occupying the site of the public establishment of that name, which 
was famous at the end of the 18th century for its fetes, and was 
constructed by order of Marie Antoinette on the model of its London 
namesake. Near the tramway-office is the handsome Monument of 
La Fontaine (1621-95), with his bust, a statue of Fame, and figures 
of the fabulist's favourite animals, in bronze, by Dumilatre. Adja- 



234 Right Bank 10. AtJTEUIL. 

cent, to the left, a statue of Cain by Caille; to the right, a Fisher- 
man, with the head and the lyre of Orpheus, by Longepied; 'Fugit 
Amor', by Dame, etc. A military band plays here on Thurs. in 
summer (see p. 44). 

At the beginning of the Rue Franklin (PI. R, 8; 7), to the W. of 
the Trocade*ro, stands the Monument of Benjamin Franklin (1706-90), 
presented to the city in 1906 by M. J. H. Harjes. The seated bronze 
statue is by J. J. Boyle ; the reliefs on the pedestal, representing 
the Reception of Franklin at the French court in 1778 and the 
Signature of the Treaty of Paris in 1785, are by Fr. Brou. The Rue 
Franklin ends at the Boulevard Delessert, which comes from the 
park of the Trocaddro and is continued by the Rue de Passy and the 
Chemin de la Muette to the Ranelagh (p. 233). 

From the Boul. Delessert the Rue Raynouard runs to the S.E., passing 
the Rue Singer (PI. R, 5), in which, at the corner, is a plaque with an in- 
scription to the effect that Benjamin Franklin lived here in 1777-85, when 
envoy to France, and placed on the house the first lightning-conductor ever 
made in France. 

To the S. from the Boul. Delessert the Rue Alboni leads past 
the Square Alboni (Metro Stat.) to the bridge of Passy. 

The *Pont de Passy (PI. R, 8; I), which spans the Seine at the 
upper end of the Alle'e des Cygnes (see below), was built in 1903-6 
in place of the old Passerelle de Passy. It has two stages, the upper 
one being used by the Metropolitain Railway. The bridge is embel- 
lished with colossal statues, reliefs, and four fine groups by 0. Michel, 
representing the 'Blacksmiths of Industrial France' and the 'Boatmen 
(nautae) of the Seine' (p. 280). — A little to the N.W. is the Champ- 
de-Mars. 

The Allee or He des Cygnes (PI. R, 8, 7; J) extends in the Seine 
from the Pont de Passy to the Pont de Grenelle (PI. R, 4, 7), between 
which the river is crossed also by the viaduct of the Ligne du Champ- 
de-Mars (p. 233). At the lower end of the island is a reduced copy 
in bronze of the statue of Liberty enlightening the Worldly Bartholdi, 
in New York Harbour. Steamboat stations, see Appx., p. 48. 



Auteuil, a quiet suburban district with numerous villas, like 
Passy, lies to the S.W., between the Seine and the Bois de Boulogne. 
A pleasant route leads thither from the Ranelagh, passing between 
the lakes in the Bois de Boulogne (p. 237) and the racecourse of 
Auteuil (p. 237). It may be reached also from the station of Passy 
via the handsome Rue Mozart ( 2 / 3 M. ; PI. R, 5, 4), which is traversed 
by a tramway. From the station of Auteuil, near the Bois (PI. R, 1), 
tramways run to the Madeleine, St. Sulpice, and Boulogne (p. 346). 
Here begins also the immense viaduct of the Chemin de Fer de 
Ceinture, l 1 /^ M. long, constructed throughout of masonry, with 
several galleries for foot-passengers beneath the line, and 234 arches. 
It ends with the Pont-Viaduc d' Auteuil or du Point -du- Jour 
(PI. G, 4), where the viaduct proper rises between two carriage-roads. 



BOIS DE BOULOGNE. Bight Bank 11. 235 

On the right bank is the Point- du- Jour station (Appx., p. 45), on 
the left hank the station of Javel (p. 341). Steamboat stations, see 
Appx., p. 48. 

To the S.W. of the Porte d'Auteuil, on the S. margin of the Bois de 
Boulogne, lies the Etablissement Horticole or Fleuriste (PI. B, 1), a large 
municipal nursery -garden for the supply of plants for the public pro- 
menades of Paris (open daily, 1-6, in the second half of April, when the 
azaleas are in blossom ; at other times by permission of the director, at 
the Hotel de Ville). — Near the Gare d'Auteuil is the Vilodrome du Parc- 
des-Princes (PI. G, 1; p. 46). 

In the Rue d'Auteuil, No. 2, Moliere's villa once stood. To the 
right, Rue Boileau 12, is the Etablissement Hydr other apique d'Auteuil, 
occupying the site of Boileau's house. The Rue d'Auteuil ends at 
the Romanesque church of Notre- Dame- d'Auteuil, restored in 1877- 
81 by Vaudremer. In front is the simple monument of the chan- 
cellor Fr. d'Aguesseau (1668-1751) ; to the right, the Maison Chardon- 
Lagache, and behind are the handsome Institution Ste. Ferine and 
the Maison Bossini, three charitable houses. The Pont Mirabeau 
(PI. R, 4), an iron bridge with statues by Injalbert (1895-97), crosses 
the Seine at the end of the Rue Mirabeau. 



11. Bois de Boulogne. 

Mkteopolitain (Lines 1 and2N), seetheAppx., pp. 29, 30; stations at the 
Porte Maillot and Porte Dauphine, see below. — Chemin de Fee de Ceintuee 
(Gare St. Lazare, see Appx., p. 45); stations at the Porte Maillot, in the 
Avenue du Bois-de-Boulogne (p. 236), Passy (p. 233), Avenue Henri-Martin 
(Trocadero, p. 230), and at the Porte d Auteuil (see below). — Motor 
Omnibus: (C) Hotel de Ville -Porte de Neuilly. — Tramways: Hotel de 
Ville-Passy; Muette-Bue Taitbout; Louvre-Versailles ; St. Sulpice-Auteuil; 
Madeleine- Auteuil ; Madeleine-Courbevoie; St. Angustin-Neuilly-St. James; 
Place deTEtoile-Courbevoie; Place de TEtoile-St. Germain. — The Chemin 
de Fee du Bois de Boulogne skirts the Bois from the Porte Maillot to 
beyond Suresnes (p. 347; 35 and 25 c. to the bridge), passing the Porte de 
Bagatelle, about ^M. from the chateau of that name (p. 238). — Steam- 
boat (Appx., p. 48) to Suresnes, which is 1/2 M. from the Grande Cascade 
(p. 237) and 1 M. from the Lac Infe'rieur (p. 237). 

If a Cab is taken (by the hour; special tariff, see Appx., p. 47) visitors 
can make a rapid inspection of the principal points in 2-3 hours. Those 
who do not wish to keep the cab waiting for the return-journey should finish 
their drive in the Bois before visiting the Jardin dAcclimatation. Motoe- 
Cae for a drive in the Bois, see p. 237 and Appx., p. 74. 

Restaurants, see pp. 16, 20. 

The Avenue de la Grande-Armee, beyond the Arc de l'Etoile 
(p. 75), leads to the Porte Maillot (which is named from the 'Jeu 
de Mail' played here in the 18th cent.), at the beginning of Neuilly 
(p. 223) and near the Jardin d'Acclimatation (p. 238). — The other 
chief entrances to the Bois are at the Porte Dauphine (PI. R, 6), at the 
end of the Avenue du Bois-de-Boulogne (p. 236) ; the Porte de la 
Muette (PI. R, 5), the nearest to the Trocade'ro (p. 230) ; the Porte 
d'Auteuil (PI. R, 1), on the S.E., about 1 M. from the steamboat- 
station on the Seine (see Appx., p. 48); the Porte de Boulogne, on 
the road to Boulogne (see Plan); the Porte de I' Hippodrome, near the 



236 Bight Bank 11. BOIS DE BOULOGNE. 

Longchamp racecourse ; trie Porte de St. Cloud, near trie Aqueduc de 
l'Avre (p. 237); and the Porte de Suresnes, near the polo -ground 
(p. 238). 

The Avenue du Bois-de-Boulogne (PI. B, R, 9, 6), leading from the 
Arc de l'Etoile to the W., is the usual route followed by the fashionable 
crowd in carriages, on horseback, or on foot proceeding from the 
Champs-Elyse'es . This avenue, which was laid out in 1853 and 
named the Avenue de l'lmpe'ratrice in honour of the young Empress 
Eugenie, is about 140 yds. in breadth (including the side-alleys and 
the dividing strips of turf) and is 3 / 4 M. long to the Porte Dauphine. 
To the right, near the beginning of the avenue, is the Monument 
of Alphand (1817-91), under whose superintendence the important 
works which transformed a large part of Paris were carried out (see 
p. xxvii); he is surrounded by his collaborators Bouvard and Huet, 
the painter Roll, and the sculptor Dalou, who executed the group. 

The palatial. building in the Louis XVI style in the Avenue Malakoff, 
which we cross, was built by Samson for Count Boni de Castellane. At 
No. 59 in the Av. du Bois-de-Boulogne, farther on, on the left, is the 
Musie Dennery, where the dramatic author of that name (1811-99) resided. 
The collections comprise Chinese, Japanese, and Tonkinese curiosities and 
are open to the public daily from 12 to 4 or 5, except Mon. and Sat. 

The *Bois de Boulogne (PI. B, 6, 3 ; R, 6, 3, 2, 1) is a beautiful 
park covering an area of 2250 acres, bounded by the fortifications of 
Paris on the E. (see p. xxiv) , the Seine on the W., Boulogne 
(p. 346) and the Boulevard d'Auteuil on the S., and Neuilly (p. 223) 
on the N. It is a fragment of the extensive old Foret de Rouvray, 
which covered nearly the whole of the peninsula formed by the Seine 
on which Paris is built. Princely mansions, like the chateaux of 
Madrid (p. 238), of La Muette (p. 233), of Bagatelle, and the cele- 
brated Abbaye de Longchamps (p. 237), were scattered along the 
borders, but the forest itself received little attention and was long 
in evil odour, being the resort of duellists, suicides, and robbers. 
In 1853 it was presented by the state to the municipality, the latter 
undertaking to reclaim it and also to maintain it in the future. The 
authorities accordingly converted it, at a cost of 220, 000 1., into 
the present magnificent park, the favourite promenade of the Paris- 
ians. — The annexed plan will enable the visitor to find his way 
without difficulty. 

The Bois de Boulogne is most frequented in the afternoon 
between 3 and 5 o'clock (later in summer). The approaches to the 
principal entrances are sometimes so thronged with carriages, motor- 
cars, and bicycles that it is only possible to proceed at a walk. — 
The Fete des Fleurs, which takes place on May 30th and 31st, is a 
brilliant scene. 

The broad Alice de Longchamp leads straight from the Porte Maillot 
to the racecourse (2 M. ; p. 237). Not far from the Porte Maillot, on the 
right, is the Mare d'Armenonville, with the Pavilion d'Armenonville 
Restaurant (p. 17). — The Route des Erables, to the right as we come 



-•*'" ^ 



BOIS DE BOULOGNE. Bight Bank 11. 237 

from the Porte Maillot, is reserved exclusively for cyclists, and the 
Boute de la Longue- Queue, between the Porte de Madrid (p. 238) 
and the Oarrefour du Chateau- de-Bagatelle (p. 238) for motorists and 
cyclists jointly. 

The spacious Boute de Suresnes, which "begins at the Porte Dauphine 
(to the right, the Pavilion Ohinois, p. 20), leads to the Carrefour du 
Bout-des-Lacs (ca. ^ M.)> one °^ tne finest points in the Bois de 
Boulogne. It lies at the lower end of two artificial lakes, the Lac 
Inferieur (2/3 M. in length and 100 yds. in width) and the Lac 
Superieur (^4 M. in length and 60 yds. in width), which are fed by 
the Canal de l'Ourcq (p. 241) and the artesian well of Passy (p. 233). 
Two brooks issue from the Lac Inferieur, one of which flows to the 
Jardin d'Acclimatation, the other, or 'Riviere de Longchamp', to 
the cascade (see below). In the Lac Inferieur are two islands, on 
one of which is a cafe-restaurant in the form of a Swiss chalet. It is 
reached by a ferry (on the left; 10 c. there and back). Near it are 
boats for hire (2-3 fr. per 1 /2 lir -j se e the tariff). 

Beyond the carrefour the Chemin du Lac Inferieur skirts on the right 
the Photographie Hippique, then the lawns of the Croix Catelan, with the 
chalet, tennis-courts, etc. of the Racing Club (p. 47). In the vicinity is the 
Restaurant Paillarcl (p. 17; opened in 1906) in an elegant building. At 
the Pre Catalan is the Thiatre de Verdure, a natural amphitheatre, in which 
open-air plays are sometimes performed in summer. 

Between the two lakes is the Carrefour des Cascades, and at the 
S. end of the Lac Supeneur is the Butte Mortemart. The Champ 
de Courses d'Auteuil (see p. 45) is situated here. From behind the 
race-stands a fine view is obtained of part of Boulogne and the 
heights of St. Cloud. — Auteuil, see p. 234. 

On arriving at the upper extremity of the Lac Superieur we turn 
to the right and walk along the margin of the lake to the Carrefour 
des Cascades (see above). Hence we follow the Avenue de V Hippo- 
drome to the left, or the walk at the side (see Plan), both of which 
cross the wide Allee de la Beine- Marguerite and lead in 15-20 min. 
to the Carrefour de Longchamp and the Grande Cascade, an artificial 
waterfall issuing from a grotto. After viewing the waterfall, we may 
ascend the eminence in front of it, which affords a fine view of the 
valley of the Seine; to the left, on the opposite bank, lies St. Cloud 
with its modern church ; nearer is the Hippodrome de Longchamp 
(see below) ; opposite us are a mill and two towers of the ancient 
Alley of Longchamp, founded in 1256 by Isabelle de France, sister 
of St. Louis, which achieved an unenviable notoriety at the end of 
the 18th cent, through the extravagant society functions held there 
during Holy Week in connection with the 'sacred concerts'. 

The Hippodrome de Longchamp is the principal racecourse for 
fiat races in the neighbourhood of Paris (see p. 45). It is also the 
scene of the great military reviews. 

Behind the race-stands are the Chalets du Cycle (see p. 20). 

The Seine may be crossed here either via, the Pont de Suresnes (p. 347), 
or by a Foot Bridge (Passerelle de VAqueduc de VAvre), on the side next 



240 



12. North-Eastern Quarters. 



With the exception of the park of the Buttes - Chaumont the N.E. 
quarters of Paris offer no attractions to the visitor. The Rue d" 1 Allemagne 
Station on the Metropolitan (Line 2 N) is the most convenient (see Appx., 
p. 31), the Rue Secretan leading thence (on the right) to the park. — The 
Tramways to La Villette (27) and TP) and that from St. Augustin to the 
Cours de Vincennes (TAD; Appx., pp. 37, 38, 39) may also he used. — A 
Cable - Tramway ascends from the Place de la Republique (p. 84) to the 
church of St. Jean-Baptiste (p. 241). — The Chemin de Fer de Petite Cein- 
ture (Appx., p. 45) has a station (Belleville- Villette) at the N. entrance to 
the park (PI. B, 29). 

The Rue d' Allemagne Station (PI. B, 26), on the elevated section 
of the Metropolitain, is situated at the intersection of the Rue 
La Fayette and Rue d' Allemagne, in the Boulevard de la Villette. 

At the angle here formed by the boulevard we notice a Rotunda. 
This is one of the 60 propylsea built by Ledoux at the order of 
Louis XYI outside the gates of Paris (see also pp. 253, 337); it 
is now occupied by the customs-office for the Bassin de la Villette 
(p. 241). — To the Buttes by the Rue Secretan (PL B, 26, 30) is 
i /i hr.'s walk. 

Farther on the Mitropolitain passes the Station du Combat, in the Boul. 
de la Villette, at the intersection of the Rue de Meaux and the Rue Grange- 
aux-Belles (PI. B, 27), where the old Barriere du Combat stood, the scene 
of a sharp battle with the allied troops in 1814. It was here, in the 13th 
cent., that the Gibbet of Montfaucon was erected, on which the bodies of 
criminals were suspended after execution. Many historical personages suf- 
fered this ignominy, including Admiral Coligny and other victims of the 
massacre of St. Bartholomew, whom Charles X brought his whole court to 
gloat over. The gibbet was pulled down in 1761. — At the corner of the 
Rue Grange-aux-Belles and Rue Bichat rises the large Hdpital St. Louis 
(PI. B, 27) for cutaneous diseases (1457 beds), founded by Henri IV and 
built in 1607-12. 

The splendid park of the *Buttes-Chaumont (PI. B, 30, 29), the 
hills ('buttes') of which were once a barren waste ('calvi montes'), 
with extensive quarries of gypsum (p. 214), and the principal dump- 
ing-ground for the refuse of the city, lies at the W. end of the hill of 
Belleville. It was planned by Alphand (p. xxvii) and Barillet in 
1866-67, and extends over an area of about 60 acres. The rocks 
that remained have been picturesquely altered and surrounded by 
a small lake, while the adjacent rugged surface is now covered 
with gardens and walks shaded by trees. A cascade falling from 
the height of 100 ft. into an artificial stalactite grotto (formerly 
the entrance to the quarries) is intended to enhance the attractions 
of the scene. One of the rocks in the lake is surmounted by a 
miniature temple, which commands an admirable view in the direction 
of St. Denis and Montmartre (comp. p. 214) ; the best *View of the 
city itself, with its ocean of houses , is obtained from the second 
summit to the S. An iron suspension-bridge, 70 yds. in length, 
crosses from one of the rocks to another, while above that is another 
bridge, built of brick, which goes by the name of the 'Pont des 
Suicides'. The temple may also be gained by a path among the 



LA VILLETTE. Eight Bank 12. 241 

rocks, reached by a boat across the lake (5c). Here and there are 
bronze sculptures : on the side next the main entrance, The Rescue, 
by Rolard; Eagle-hunter, by JDesca, on this side of the large 
bridge; Corsair, by Oge, near the great waterfall; Robber of the 
eagles' nest, by L. Gossin, in the upper part of the park; nearer the 
side next the Rue Secretan, Wolf Hunt, by Hiolin, 'Egalitaire' 
('Time, the Leveller'), by Captier; beside the small cascade beyond 
the restaurant, The Ford, by C. Leftvre. — The Chemin de Fer de 
Ceinture (p. 31) is carried through the E. end of the park by a 
cutting and two tunnels; in the vicinity, the Belleville-Villette sta- 
tion (see Appx., p. 46). 

There are three Caf 6s- Restaurants in the park, one near the suspension- 
bridge, one on the S. side of the hill (with view of Paris), and one above 
the railway cutting. A military band plays here on Sun. and Thurs. in 
summer (see p. 44). 

In the Belleville quarter, inhabited by the working-classes, to the S. 
of the Buttes-Chaumont, is the church of St. Jean-Baptiste (PI. B, 33), built 
in the Gothic style of the 13th cent, by Lassus (d. 1857), and consecrated 
in 1859. The chief portal is flanked by two towers, 190ft. in height, 
which are conspicuous from every part of the city. — A cable-tramway 
descends hence to the Place de la Republique (p. 84; 10 c). — To the N. 
of the Buttes is the large Mairie of the 19th Arrondissement, a modern build- 
ing in the style of Louis XIII by Davioud and Bourdais. The Salle des 
Manages is embellished with paintings by Gervex and Blanchon. In front 
is the Monument of Jean Mad (1815-95), the educationalist, by Massoulle. In 
this vicinity, at Rue Manin 29, is the Institut Ophthalmologique Rothschild 
(PI. B, 30), built in 1904. 

The Bassin de la Villette (PL B, 26, 29), a harbour and reser- 
voir (16 acres), over 80 ft. above the lowest water-level in the Seine, 
is formed by the Canal de VOurcq, which connects the Ourcq, an 
affluent of the Marne, with the Seine. This canal, 54 M. long, 
which, above the Bassin, is devoid of locks, cuts off a long curve 
formed by the river, while the Canal 8t. Denis, 4 M. long, a 
ramification towards the N.E., shortens the water-route between the 
Upper and Lower Seine by 10 M. The Canal St. Martin (p. 181), 
3 M. long, with 9 locks, continues the Canal de TOurcq to the S. 

The basin is crossed by a lofty Foot Bridge, the single arch of which 
has a span of 310 ft. At the other end, in the Rue de Crimee, is a hy- 
draulic Drawbridge, worked by the water of the canal. In the Place de 
Joinville, to the right of the Rue de Crimee, is the church of St. Christophe 
(PL B, 28), built by Lequeux in 1841-44. 

The Marche de la Villette (PI. B, 31), the cattle- market of 
Paris, is nearly 55 acres in extent. Visitors are freely admitted to 
the market, which presents a busy scene, especially on Monday and 
Thursday mornings. It consists of three large pavilions, the central 
one of which is capable of containing 5080 oxen, that on the right 
about 2000 calves and 5800 pigs, and that on the left 31,300 sheep. 
Behind the market are stables and offices. 

The Abattoirs de la Villette (PL B, 28-31), the principal 
slaughter-houses of Paris, are separated from the cattle-market by 
the Canal de l'Ourcq. The chief entrance to them is in the Rue de 

Baedekek. Paris. 16th Edit. 16 



242 Eight Bank 12. AUBERYILLIERS. 

Flandre, on the N.W. side, beside which are two sculptured groups 
of animals, by A. Lefeuvre (In the pasture) and Lefevre-Deslong- 
champs (At the abattoir). The abbatoirs occupy an area of 47 acres, 
and, although they are not public, strangers are usually permitted 
to walk round. The busiest time here is also in the morning, but 
the scene is not one which will attract many visitors, though the 
premises are kept scrupulously clean and the whole organization is 
admirable. The buildings include about 20 courts, with 200 scald- 
ing-pans. About 1200 bullocks, 500 calves, and. 800 sheep are 
slaughtered here daily; onTues. andFrid. even more. The slaughter- 
house for pigs (about 1000 daily) is by itself, next the fortifications. 
The neighbouring suburbs to the N.E. and E. of La Villette (4-6 M. 
from Paris) of Aubervilliers (31,215 inhab.) and Pantin (29,716 inhab.), to 
which electric tramways ply from the Place de la Republique and the 
Ope'ra, and the village of Le Pri-St-Gervais (11,078 inhab.; tramway from 
the fortifications, 5 c.) are uninteresting. Near the Porte d'Aubervilliers is 
the immense Hdpital Claude-Bernard (1905), for contagious diseases. Les 
Lilas, a village of 8925 inhab., is situated on an eminence (view). It is 
traversed by the tramway from the Place de l'Opera, which passes through 
Romainville (2961 inhab. ; chalk-pits) and Noisy-le-Sec (p. 387) to Bondy (p. 406). 
More to the S. lies Bagnolet (p. 251). 



13. Eastern Quarters. 

The principal attraction of the region lying to the E. of the inner 
boulevards is the Cemetery of Pere-Lachaise. The nearest stations on the 
Metkopolitain (Lines 2 If and 3) are Avenue Philippe- Auguste (PI. R, 32), not 
far from the main entrance to the cemetery (p. 243); Pere - Lachaise (PI. 
R, 29), at the E. end of the Av. de la Republique, near the N.W. entrance 
(p. 247); and Place Martin- Xadaud (PI. E, 33), 165 yds. from the N. entrance 
(p. 246); see the Appx., pp. 31, 33. — It may also be reachedjby Electric 
Tramways (Place de TOpera to Bondy, and to Fontenay, see Appx., p. 42), 
which pass the N.W. and N. entrances. — The restaurants near the ce- 
metery are inferior. 

The shortest route from the Boulevards to Pere-Lachaise is 
afforded by the Avenue de la Republique (PI. R, 27, 30; Metro). 
which was begun under Napoleon III. and finished in 1892. It 
crosses the N. end of the Boulevard Richard- Lenoir (p. 181), passes 
the Ecole Superieure de Commerce (1898) and the Lycee Voltaire, 
and ends at the Boulevard Me'nilmontant, # opposite the N.W. entrance 
to the cemetery. In this boulevard is the Metro stat. of Pere- 
Lachaise, where Lines 2N and 8 intersect (see Appx., pp.31, 33). 
The Boulevard de Menilmontant (PI. R, 30, 32) skirts the 
W. side of the cemetery anl passes its main entrance (p. 243). It is 
continued to the Place de la Nation (p. 252) by the Avenue Philippe- 
Auguste (Me'tro Stat.). 

*Pere-Lachaise (PI. R, 32), or the Cimetiere de VEst, the largest 
and most interesting of the Parisian burial-grounds (see pp. 216, 
336), is named after Lachaise, the Jesuit confessor of Louis XIV, 
whose country-seat occupied the site of the present chapel. In 1804 



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PERE-LACHAISE. Right Bank 13. 243 

the ground was laid out as a cemetery, the precincts of which have 
since been greatly extended, and it now covers an area of about 
110 acres. It is^the burial-place of the inhabitants of the N.E. part 
of Paris, but anyone may purchase a grave, and persons of distinc- 
tion from other parts of the city also are generally interred here. 

A Concession a perp&tuiU, or private burial-place, of 2 square metres 
or about 22 1 /z sq. ft. (the smallest space in which a person over 7 years of 
age can be buried) may be secured for 1000 fr. The charge for a larger 
space is augmented in an increasing ratio, the price of each square 
metre beyond two being 1500 fr. ; beyond four, 2000$ and beyond six, 
3000 fr. A Concession Trentenaire, providing that the grave shall remain 
undisturbed for 30 years, costs 300 fr. ; a Concession Temporaire, for 5 years, 
costs 50 fr. — The Fosses Communes (for paupers) are found only in cemeteries 
outside Paris. — All burials within the department of the Seine are un- 
dertaken by the Compagnie des Pompes Funebres, Rue d'Aubervilliers 104, 

It may be observed here that it is the invariable custom for men to 
take off their hats on meeting a funeral procession, whether in the cemetery 
or in the public streets. 

Cemeteries open at 7 a.m. and close at 7 p.m. from May 1st to 
Aug. 31st; 6.30 in April; 6 in March and from Sept. 1st to Oct. 15th; 
5.30 in Feb. ; 5 from Oct. 16th to Nov. 15th ; and 4.30 from Nov. 16th 
to Jan. 31st. A quarter of an hour before the closing of the gates a 
bell is rung, and the custodians call out, l On ferme lea portes\ 
Visitors are not permitted to carry anything out of the cemetery 
without a i laissez-passer\ 

A general survey of the most remarkable monuments may be 
made in 3-3 [ /2 hrs. by following the itinerary marked on the plan and 
attending to the directions given. Alphabetical list of the principal 
tombs, see p. 247. Conducteurs will be found at the small building 
to the right on entering, but their services (5 fr., or more) are un- 
necessary unless the visitor is much pressed for time. — On All 
Saints' Day (Jour de la Toussaint) and All Souls' Day [Jour des 
Morts; November 1st and 2nd) the cemetery is visited by about 
130,000 people. 

The Avenue Piuncipale, with its borders of cypress-trees, as- 
cends gradually from the main entrance. On the left, beyond the 
first cross-walk, Rossini (d. 1868), the composer (whose remains 
were transferred to Florence in 1887). Then, Alfred de Musset 
(d. 1857), the poet, who composed the beautiful lines on the monu- 
ment. Farther on, Clement Thomas and Lecomte (d. 1871), the first 
victims of the Commune (p. 214), statue of La Patrie, by Cugnot; 
Paul Baudry (d. 1886), the painter, with Fame crowning Baudry's 
bust and a statue of Grief, in bronze, by Mercie. The Avenue Prin- 
cipale ends at the — 

**Monument aux Morts, executed by A. Bartholome in 1895-99. 
This is carved out of a block of limestone, and represents a tomb 
towards the broad entrance of which suffering humanity, divided 
between hope and fear, is pressing. A young couple has already 
crossed the threshold of the tomb, which is being held open by the 
angel of immortality, while within reposes a family whom death has 

16* 



244 Right Bank 13. PERE-LACHAISE. 

joined together. The inscription is from Is. ix, 2, and Matt, iv, 16: 
'The people that walked in darkness have seen a great light'. The 
monument is one of the most touching inspirations of modern 
sculpture. — Chapel and upper part of the cemetery, see p. 245. 

Retracing our steps, we notice, on the right (opposite Baudry), 
Th. Couture (d. 1879), painter, hust and genii in "bronze, by E. 
Barriasj Felix Faure (d. 1899), President of the Republic, with 
recumbent statue under the French and Russian flags, by St. Mar- 
ceaux. Higher up, J. A. J. Falguihre (d. 1900), the sculptor, with 
a relief of Inspiration, by Marqueste; Sergeant Hoff (d. 1902), with 
a bronze statue, one of the last works of Bartholdi (1904). — Chapel 
and upper part of the cemetery, see p. 245. 

Retracing our steps we next enter the Avenue du Puits, to the 
left, out of which a turning on the right leads to the Jewish Ceme- 
tery. To the right, BacheL (d. 1858), the tragedian. Farther on, to 
the left of the walk, the chapel of the Bothschild Family. — Then, 
to the left, — 

Abelard and Helo'ise (d. 1141 and 1163). This is one of the most 
popular monuments, and with its Gothic canopy is conspicuous from 
afar. It is, however, not authentic, having been reconstructed from 
casual fragments. The recumbent statues on the sarcophagus are 
supposed to represent the ill-starred lovers. — We now follow the 
Chemin Serre, to the right, where, beyond the Chemin Laine, on 
the right (3rd grave in 2nd row), is the tomb of Bosa Bonheur 
(d. 1899), painter, in polished granite. Retracing our steps, we turn 
into the Chemin Lebrun. On the left, the large mausoleum of 
Fr. Lebrun (d. 1824), Duke of Piacenza, minister under Napoleon I. 
On the right, Victims of June, 1832, who fell in a riot instigated by 
the republican faction. — We then come to the — 

Grand Rond, from which five avenues radiate. — In the centre, 
Casimir Perier (d. 1832), a celebrated orator and minister of Louis 
Philippe, bronze statue by Cortot. To theN.E., Baspdil (d. 1878), 
the famous democrat and physiologist, with a veiled female figure 
leaning against the grating of a dungeon, an allusion to the death of 
Raspail's wife during his imprisonment in 1848. The monument is 
by Etex. 

We skirt the Grand Rond to the S., passing the grave of the 
Moreau- Vauthier Family , with a fine statue of a mourner by the 
sculptor Moreau- Vauthier, then turn to the left, enter Division 13, 
between the Avenue Casimir-Perier and the Avenue de la Cha- 
pelle, and descend the Chemin Mehul to the Chemin Denon. In 
the last, to the right, Chopin (d. 1849), the composer, with me- 
dallion and the figure of Music, by Clesinger. To the left, Denon 
(d. 1825), director of museums under Napoleon I., bronze statue 
by Cartellier. On the right, Cherubini (d. 1842), the composer, bas- 
relief by Dumont. — We now ascend to the right and, opposite the 
grave of Talma (d. 1826), the famous tragedian, we enter the so- 



PERE-LACHAISE. Right Bank 13. 245 

called 'artists' division', one of the oldest in the cemetery. To the 
right, Tamberliclc (d. 1889), the tenor, with an angel strewing 
flowers , hy Godebski. At the end of the allee, Delille (d. 1813), 
the poet, a neglected hut very picturesque tomh. 

Ascending now to the Avenue de i<a Chapelle, we follow it to 
the left (N.AV). In front of the Cemetery Chapel (which contains 
nothing noteworthy, hut whence we have a fine view of Paris) is 
the Monument de Souvenir. — To the right is the monument of 
Thiers (d. 1877), the celehrated statesman, consisting of a large 
and elaborate chapel hy Aldrophe. Ahove the fine hronze doors is 
a relief of the Genius of Patriotism, hy Chapu. The interior (which 
cannot he seen) contains a group, hy Mercie, representing Thiers 
rising to answer the summons of Immortality, and reliefs, hy Chapu, 
of the Liberation of French Soil and the Genius of Immortality. 
The sarcophagus rests in an open crypt. — Farther on, to the left, 
in the Avenue Feuillant (right), Louis David (d. 1825), the painter, 
with medallion. Then, in the Avenue de la Chapelle, to the Tight, 
Raymond de Seze (d. 1828), defender of Louis X"VI before the Con-' 
vention; Cartellier (d. 1831), sculptor, bust by Rude, bas-reliefs 
by Seurre. — In the walk behind the cemetery chapel, Guerinot 
(d. 1892), architect, statue of a weeping woman, by Barrias. 

We now follow the Avenue de la Chapelle, then take the Chemin 
du Bassin on the left, and farther on, the Chemin Moliere et Lafon- 
taine. At the beginning, to the left, Pradier (d. 1852), the sculptor, 
with bust and reliefs by his pupils. To the left, in the Chemin Laplace, 
Qros (d. 1835), painter. To the left of the path, Count de Valence 
(d. 1822), lieut.-general. Behind, Daubigny (d. 1878) and Corot 
(d. 1875), the painters, with busts. — A little farther up the Chemin 
Moliere, on the left, the tombs of La Fontaine (d. 1695), of the 
Fables, decorated with bas-reliefs and surmounted by a fox, in 
bronze, and Moliere (d. 1673), the dramatist, transferred hither in 
1817. Farther on, to the right, in the Chemin Camille, Alphonse 
Daudet, the novelist (d. 1897), bronze medallion by Falguiere. 

"We return to Pradier's monument and turn to the E. into the 
Chemin du Dragon. To the left, S. Hahnemann (d. 1843), founder 
of homcBopathy, a monument in red granite bearing the titles of his 
works and his motto, with a bronze bust after David d 1 Angers. About 
140 yds. to the right, the superb mausoleum of the Demidoffs, a 
Russian countess and prince. To the left, General Foy (d. 1825), a 
famous orator, with a statue and reliefs by David d' Angers. Behind 
the three columns is the common grave of Manuel (d. 1827), popular 
deputy, and Beranger (d. 1857), the poet, with bronze medallions. 
Farther on, to the right, Marshal Ney (1769-1815; p. 334), the 
'brave des braves'; General Gobert, killed in Spain in 1808, a group 
and bas-relief by David d' Angers. Opposite, Beaumarchais (d. 1799 ; 
p. 85), dramatist. To the left, Marshal Massena (d. 1817), monu- 
ment by Bosio and Jacques, and Marshal Lefebvre (d. 1820). 



246 Right Bank 13. PfiRE-LAOHAISE. 

We here ascend the steps to the left, near the top of which, on 
the right (between the tombs, not along the Chemin des Anglais), 
begins the Avenue Pacthod, at right angles to the Avenues Trans- 
veisales No. II and No. III. 

At the eud of the Avenue Pacthod we descend on the right to the corner 
of the cemetery, beside the Mur des l\\hi\s, against -which the Communards 
taken in the cemetery with arms in their hands were shot in 1871 at the 
end of the insurrection. Demonstrations annually take place here on the 
anniversary of the event, and numerous red wreaths are hung on the wall. 

A little lower down, in the Avenue Circulaire, is the monument 
raised to the victims of the tire at the Opera Comique (p. 82). 

We return by the Avenue Transversals No. II, leading 
to the AY. Right, A. Terry (d. 1886), a handsome Renaissance 
chapel, with four statues by A. Lenoir. Beyond, Victor Noir, jour- 
nalist, killed in 1870 by Prince Pierre Bonaparte, recumbent bronze 
statue by Dalou. De Ycaza (d. 1890), another fine Renaissance 
chapel, with a group of statues inside and a bas-relief outside, by 
Puech. In the next side-avenue to the left (Avenue Carette), right, 
A. Blanqui (d. 1881), revolxitionary , recumbent bronze statue by 
Dalou. To the E., beyond the Avenue Transversale No. Ill, left, 
he Royer (d. 1899), president of the senate, statue by d'Homlain; 
Rene Fiau(t(A. 1903), bronze bust by Rodin ; A. Vigneron (di 1903), 
bronze bust; to the right, Robert Planquette (d. 1903), composer 
of the 'Cloches de Corueville', with bronze bells and a medallion by 
by P. Legastelois. — Farther on in the Avenue Transversale No. II, 
to the left, Josephine Yerazzi (d. 1879), marble group by Malfatti. 

To the right is situated the Crematorium, designed by Formige and en- 
larged in 1903-5. It is surrounded on three sides by columbaria in the 
form of colonnades. The black and white squares on the walls hear the 
names of deceased persons and in some cases their photograph or portrait. 

Cremation has been practised here since 1889, but it is still far from 
being customary. — The remains are brought into the public room 
containing a catafalque, and are pushed through an opening in the wall 
into the cinerarium. — The fee for cremation, including the right to a 
place in the columbarium for live years, is 50 to 250 fr. Visitors are ad- 
mitted only with an authorisation from the Direeteur des Affaires Munici- 
pals, in the former Caserne Lobau, behind the Hotel de Ville (a stamp 
should be enclosed for the reply). 

Farther on in the Avenue Transversale No. IT, to the right, the 
Mahometan Cemetery, with a small mosque, where the Queeiiof Oudh 
and her son are interred; in front (r.), the monument of the Bennane' 
Family, a small Moorish mausoleum capped with a crescent, and the 
tomb of hmail Hakkti-Bey (d. 1903). On the left, at the end of the 
Avenue Transversale No. II, is the grave of the *Ruel Family, with a 
group and medallion by Deschamps. 

The adjoining door leads to the Place in the Avenue Gambetta (p. 250"). 

We return now and follow the avenue des Thuyas on the right. 
At the end (r.), Felix de Beetujour, consul (^d. 1836), a conspicuous 
pyramid 105 ft. in height, commonly called the 'pain de suore', erected 
by himself at a cost of 100,000 fr. 

We continue in a S.W. direction. To the right, in the Cuemin 



PfiBE-LACHAISl. Bight Bank 13. 247 

(lAKiMm-DriLAVioNE, Em. Souvestre (d. 1854); Balzac (d. 1850), 
with bronze "bust by David d' Angers; to the left, Nodier (d. 1844); 
ti. Delavigne (d. 1843), four well-known authors. Then (left) E. 
Delacroix, (d. 1803), the painter, and (2nd row) A. L. Bdrye 
(d. 1875), the sculptor. — At the Rond-Point is an obelisk to the 
municipal workmen killed by accidents (Viclimes du Devoir). The 
paths which radiate from this point in all directions contain many 
interesting tombs, besides forming a kind of museum of modem 
sculpture. — Chemin du Bastion (to the S.E.): left, Michelet 
(d. 1875), the historian, high -relief by Mercie\ Near it, left, 
Chaplin (d. 1891), painter, monument by Puech; Belloc (d. 1866), 
historical painter, bust by Itasse. Adjoining the Rond-Point, Due de 
Morny (d. 1865), politician and minister, a natural brother of Napo- 
leon III., chapel designed by Viollet-le-Duc. — Chemin de Mont- 
louis (on the left), to the right, Maquet (d. 1888), collaborator of the 
elder Dumas, bronze medallion by Allar; farther on, to the left, Barbe- 
dienne (d. 1892), manufacturer of bronzes, with a bust by Chapu and 
three bronze figures by A. Boucher, Art, Industry, and a young girl. 

Avenue des Ailantes. By the Rond-Point, Dorian (d. 1873), 
minister during the siege of Paris, bronze statue by A. Millet. Left, 
Countess d'Agoult (d. 1876), who wrote as ''Daniel 8tern\ with statue 
of 'La PenseV by Chapu. 

We now quit the Rond-Point by the Avenue Cail. At the fork, 
on the right, Croce Spinelli and Sivel (d. 1875), victims of a balloon 
accident, recumbent figures in bronze, by Dumilatre. — We here 
turn to the left and enter the Avenue Circulaire. To the right, Jean 
Reynaud (d. 1863), philosopher and publicist, with figure of Im- 
mortality by Chapu and bronze medallion by David; Cad (d. 1858), 
engineer, a large domed chapel. To the left, E. Spuller (d. 1896), 
Gambetta's right-hand man, marble group symbolising National 
Education, by Gasq. To the right, National Guards killed at Buzen- 
val (19th Jan., 1871), and Soldiers who fell at the siege in 1870-71, 
a pyramid of granite with four bronze statues of soldiers by Schroeder 
and Lefevre. To the left, Mme. Miolan-Carvalho (d. 1895), the 
singer, monument by Mercic. To the left, Ch. Floquet (d. 1896), 
statesman, bronze bust with a figure of the Republic mounting the 
tribune, by Dalou ; Anatole de La Forge (d. 1892), defender of St. 
Quentin in 1870, bronze statue by E. Barrias. Ad. Alphand (see 
p. xxvii), bronze bust by Coutan ; H. Cernuschi (d. 1896; p. 221), 
stele with bas-relief by A. Carles. 

The Avenue de FOuest leads to theN.W. gate (Metro Stat., see p. 242). 

By reference to the following alphabetical list of the principal tombs any 
particular monument may be easily located; the numbers 1-96 correspond 
to the divisions marked on our plan. 

A. — AUlard and Heloise, see p. 244. — About, Edm. (<1. 1879), author, 
bronze statue by Crauk (36). — Abomlle, Comte oV (d. 1817), general (25). — 
Achard, Amidie (d. 1875), novelist (85). — Adam, Edm. (d. 1877), bronze bust 
by Millet (54). — Agov.lt, Comlesse d\ see above. — Aguado Family (1842), 
statues (Benevolence and the Arts) and reliefs (45). — Alphand, see above 



248 Right Bank 13. P&RE-LACHAISE. 

— Andrianof (d. 1857), Russian dancer (.49). — Andrietw (d. 1833), permanent 
secretary of the French Academy [18), — An.iubault (d. 1868), engineer. 
Tleureuse" by Maillet (65). — Ann/o, i>. (d. 1853), astronomer, bust by David 
d'Angers (-1).'— Auber (d, 1871), composer, bust by Pautan (4), 

B. — fiafcoc, see p, 247. — Bortedtanie, p, 247, — Bariih-t (d. 1878), 
gardener to the city of Paris (69), — Baroche, Ernest (d, 1870), killed at 
Le Bourget, bust by Courtet (.41. — Barras. Xicholas (d. 1829), member of 
the Directory (88). — Barriire, Th. (d. 1877"), dramatist (54). — Barthelenw 
St. Hilaire (d. 1835). writer and politician (4). — Bart/e, A. £., p. 247*. 

— Baudry, Paul, p, 243. — Ba:in, Jos. (d. 1878), composer of operas comiques, 
marble bust by Poublemard (32). — Be.mce, . ? . id. 1875), battle- painter (49).— 
Beaujotir, Felix de, p. '240. — Beaumarchais. p. 245. — Beclard , P/j. (d. 1864), 
plenipotentiary at Morocco. 'Grief by Crank (41. — Bec'.ard, P. (d. 1827), 
anatomist, aud his son .feta A?.y. (d. 1887), physiologist (8). — Bellini 
(d. L835), composer ,wbose remains have been removed to Catania, his 
native place (11). — Belloc, H., p, 247. — Bennane Family, p. 246. — B*ra*otar y 
p. 245. — SertMwtd, Ci. (d. 1878), physiologist (.20). — Berthelier (d. 18820, 
painter (9). — BtuU (d, 1874), archaeologist (4). — Bichat, X, (d. L802), 
physiologist (8). — i?»'-*c7 (d. 1S75), composer of 'Carmen', bronze bust 
(68). — Blainrille, P. de (d. 1850), naturalist (541. — £/a;jc, £o«fc (d. 1882), 
historian (671. — Blandin, P. P. (d. L849), surgeon, bronze medallion 
by Clesiuger. — Blanqui, p. 246. — Berne. L. (d, 18371, German poet, 
bron.e bust aud relief by David d'Angers (301. — Boleldieti (d. 1834), 
composer (11). — Bonheur, Rosa , p. 214.' — Bottssingault , /. 5. (95). — 
Breguet. A. L. (d. 1823), watchmaker (Lib — Brillat-Savarin (d. 18261, author 
of the 'Physiologic du Gout' (28). — Brongniart, Al. (d. 18471, mineralogist 
(11). — Brongniart, A. r. (d. 1818). architect (11). — Brunt, A. J. (d. 1855), ad- 
miral, sculptures by Maindronj27). — Bttlc;, Fr. id. 18771, publisher of the 
"Revue des Deux-Mondes' (52). — Burdeau, Aug. (d. 18941, deputy (65b 

C. — Call, p. 247. — Cambacf-res, Pelphine de. bust by Jouandot (48). — 
Cambace'res. Ee'gis de (d. 1824), colleague of Bonaparte in the Consulate (.391- 

— Carlier. bronze group by E. Oarlier (63). — Cartellier, p. 245. — Casariera, 
Marquis de (d. 1881), large chapel with a statue (44). — Cemuschi, p. 247. — 
Cliallamei-Laceur (d. 1896), politician (96). — Champo'.lion (d. 1832), orientalist. 
ohelisk with medallion (18). — Chap***, C. J., p, 247. — Chappe, CI. (d. 1S05), 
inventor of aerial telegraphy (30). — Cfiasseloup-laubat (d. 1833), seueral (561- 

for, /. de (d. 1811), poet (8). — Chertibini, p.244. — C/iopiu, p. 244. — 
Clairon, Claire (d. 1803), actress (20), — C/cOviy (d. 1882), bronze bust by 
Taluet (711. — Cogniet, I., (d. 1880), painter, medallion and sculptures (15), 

— Communards, p. 246. — C> into, Aue/'tste (d. 1857), founder of Positivism 
(17> — Constant, Benj. (d. 1830), writer (29). — Corel, p, 245. — Cetide-r, d«?. 
(d. 1873), painter (27). — Coumet, P. (d. 1S86), journalist (95). — 

Victor (d. 1867), philosopher (4). — Couture ,Th.\ p. 244. — Cro:atier. Ch. 
(d. 1855), bronze founder and sculptor (49). — Crussol d'Uzes (d. 1815), 
general, allegorical has reliefs (18). 

D. — Banian, sculptors' family (4). — Paubignv, p. 245. — Baudet, Alph., 
p. 245. — Paumier, H. (d. 1879). caricaturist (24). — Daunou. P. C. P. (d. 1840), 
historian, medallion by David d'Angers (28). — David. Louis, p. 245. — 
David d'Angers (d. 1856). sculptor (39). — Beburau (d. 1846), pautomimist 
(59). — D4jaaet (d. 1875). actress (SI). — Pehicroi.v, Eug.. p. 2»7. — Pelambre. 
Jos. (d. 1822). astronomer (10). — Belaplanc/ie, P. (d. 1891). sculptor (96). — 

: : ', p. 247. — Dctiik, p. 245. — Pelpeeh (d. 1863), engineer (52). — Pemido.f, 
p. 245. — Dennert/ (d. 1899). dramatist (251. — iV»c», p. '244. — Desaugiers 
(d. 18271, song-writer (221. — Detbatsavns, fioron (d. 18501. 'Pleureuse' bv Bicci 
(6). — Pese!ee(d. 1874), actress (70). — Peslus, C3k. (d. 1885), author (71). — Dor<, 

(d. 1833). painter (22). — Z>oHon, p. 247. — Pubufe, C. If. (d. 1864), 
painter (28). — Duchesnois, Josephine (d. 1835), actress. — Btiga:on, Louise (d, 
1821), actress (111. — Pulong, P. /.. (d. 18331. chemist, obelisk and medallion 
by David d'Angers (8). — Dupuptren (d. 1835), surgeon (37). — Buret, Fr. 
(d. 1865), sculptor, medallion bv Leqnesne and relief by E. Guillaume (19). 

E. — Enfantin, Fere (d. 1864), leader of the St Simoniau school, bust 
by A. Millet (39). — Frra:u Family, symbolical statues by M. Meusnier 
(68). — Ruffes, Bm. (d. 1888), revolutionary, brouze bust bv T. Noel (91). 



PERE-LACHAISE. Right Bank 13. 249 

F. — Falguiere, Jean Alex. Joseph, p. 244. — Faure, Filix, p. 244. — 
Faverolles, Mme. de, sculptures by V. Dubray (48). — Fidiris, Mur des, 
p. 246. — Flandrin, Hipp. (d. 1864), painter, marble bust by Oudine (57). — 
Floquet, Ch., p. 247. — Florens, A. (d. 1885), relief by Boussard (47). — 
Flourens, P. G. (d. 1871), politician (66). — Flourens, P. (d. 1867), physiologist 
(66). — Fould, Mme. (d. 1839), renowned for her charity (7). — Foy, General, 
p. 245. 

G. — Gall, Fr. Jos. (d. 1828), founder of phrenology (18). — Gareau, 
beautiful 'Pleureuse 1 (10; down some steps). — Gamier- Pages (d. 1841), 
lawyer and politician ; the empty tribune is an allusion to his eloquence (29). 
— Garot (d. 1823), singer (11). — Gatineau (d. 1885), advocate (96). — Gaudin 
(d. 1841), Duke of Gaeta, minister of finance under Napoleon I. (27). — 
Gay-Lussac, J. L. (d. 1850), chemist (26). — Genlis, Stephanie de (d. 1830), 
authoress (24). — Geoffroy St. Eilaire (d. 1814), naturalist, medallions by 
David d'Angers (30). — Giricault, Th. (d. 1824), painter, bronze statue and 
relief by Etex (55). — Gill, Andre" (d. 1887), caricaturist, bronze bust by 
L. Coutan (95). — Girardin, Emile de (d. 1881), founder of the 'Figaro 1 (8). — 
Girodet-Trioson (d. 1824), painter (28). — Gobert, p. 245. — Gohier, L. J. 
(d. 1830), President of the Directory, medallion by David d'Angers (10). — 
Gouvion-St-Cyr, Marshal (d. 1830), marble statue by David d'Angers (37). — 
Gr&try (d. 1813), composer (11). — Grisar, Alb. (d. 1869), composer (71). — 
Gros, p. 245. — Grouchy, Marshal (d. 1847), who arrived too late at Waterloo 
(57). — Guirinot, p. 245. 

H. — Habeneck (d.1849), violinist (11). — Hahnemann, p. 245. — Hakky- 
Bey, [Ismail, p. 246. — Hamelin, 'Admiral (d. 1864), who commanded at 
Sevastopol (25). — Haxo, General (d. 1838), connected with the siege of 
Antwerp (28). — Herz, Henri (d. 1888), composer and pianist (27). — Hoff, 
p. 244. — Houssaye, Arsene (d. 1896), author (4). — Hugo, General (d. 1828), 
father of Victor Hugo (27). 

I. — Ingres (d. 1867), painter (23). — Isabey (d. 1855), painter (20). 

J. — Junol (d. 1813), Duke of Abrantes (24). 

K. — Kardec, Allan (d. 1869), one of the founders of spiritualism, monu- 
ment in the form of a dolmen, with bronze bust by Capellaro (44). — 
Kellermann, Marshal (d. 1820), Due de Valmy (18). 

X. — La B&doyere, General (d. 1815), partisan of Napoleon I., shot under 
the Restoration (16). — Lachambeaudie, P. (d. 1872), fabulist (48). — Laffitte, J. 
(d. 1844), financier (18). — La Fontaine, p. 245. — La Forge, Analole de, p. 247. — 
Lakanal, J. (d. 1845), member of the Convention (11). — Lameth, Th. (d.1829) 
and Fr. (d. 1832), politicians of the Revolution (23). — Lanjuinais, J. D. 
(d. 1827), President of the Convention (30). — Lapomeraye, physician, bronze 
bust and relief by Fontaine (6). — Laurent-Pichat (d. 1886), poet and poli- 
tician, bronze medallion by Mercie (8). — Lauriston, Marshal (a. 1828; 14). — 
La Valette, A. M. (d. 18.^0), partisan of Napoleon I.-, his wife, by changing 
clothes with him, saved him from prison (3d). — Lavoisier (p. 78), founder of 
modern chemistry (13). — Lebas, J. B. A. (d. 1873), engineer (4). — Lebrun, 
p. 244. — Lecomle, p. 243. — Ledru-Rollin (d. 1874), politician (p. 251), bronze 
bust (4). — Lefebvre, p. 245. — Lemercier, N. (d. 1840), author (30). — 
Lenormand, Mme. (d. 1843), fortune-teller under the First Empire and the 
Restoration (3). — Lepaute, J. A. (d. 1789), clock-maker (7). — Le Royer, 
p. 246. — Lesurques , J. (d. 1796), celebrated victim of a judicial error (8). 

M. — Macdonald, Marshal (d. 1840), Duke of Taranto (37). — Maison, 
Marshal (d. 1840), leader of the Morean expedition in 1828 (5). — Manuel, 
p. 245. — Maquet, p. 247. — Maret (d. 1839), Duke of Bassano, Doric temple 
(31). — Mars, Mile. (d. 1847), actress (8). — Mass&na, p. 245. — Mihul 
(d. 1817), composer (13). — Mercoeur, Elisa (d. 1835), poetess (16). — Michelet, 
p. 247. — Miolan-Carvalho, p. 247. — Moliere, p. 245. — Monge, G. (d. 1818), 
mathematician, member of the Convention in 1793 (18). — Monselet, Ch. (188S), 
author (66). — Moreau-Vauthier, p. 244. — Morny, Due de, p. 247. — Mortier, 
Marshal (d. 1835), Duke of Treviso (23). — Morts, Monument aux, p. 243. — 
Mouton, Marshal (d. 1838), reliefs by Menn (4). — Mussel, Alf. de, p. 243. 

N. — National Guards, p. 247. — Nilaton, Aug. (d. 1873), surgeon (5). — 
Nerval, Gerard de (d. 1855), romantic poet (49). — Ney, Marshal, p. 245. — 
Nodier, p. 247. — Noir, Victor, p. 246. 



250 Bight Bank 13. AVENUE GAMBETTA. 

0. — Oudh, Queen of, p. 246. — Ozi, Alice (d. 1893), actress, allegorical 
statue by G. Dore (89). 

P. — Pariset, E. (d. 1847), physician (27). — Parmentier (d. 1813), who 
introduced the potato into France (39). — Parny (d. 1814), poet (11). — 
Peabody, Clara (d. 1882), high-relief in bronze by Chapu (41). — Perdonnet, 
A. A. (d. 1867), engineer, statue and medallion by V. Dubray (4). — Pirier, 
Casimir, p. 244. — Piault, p. 246. — Planquette, p. 216. — Pothuau (d. 1882), 
admiral (14). — Pradier, p. 245. — Pyat, Fttix (d. 1889), revolutionary (46). 

It. — Rachel, p. 244. — Raspail, p. 244. — Reber (d. 1880), professor at 
the Conservatoire, symbolical figure of Music by Tony Noel (55). — Regnaud 
de St. Jean d^Angily (d. 1820), marshal of France (11). — Reille, Marshal 
(d. 1860), monument by Jacques and Bosio (2S). — Reynaud, p. 247. — 
Ricord, Ph. (d. 1889), physician, Renaissance chapel (54). — Robertson, Etienne 
(d. 1837), physicist (Archimedean mirror) and aeronaut (8). — Roederer, P. L. 
(d. 1835), politician (4). — Rossignol, Ch. (d. 1889), manufacturer, rich Renais- 
sance chapel, with bust, statuette, and sculptures by Boisseau (64). — 
Rossini, p. 243. — Rothschild, p. 244. — Roussin, Admiral (d. 1854), distin- 
guished at the battle of the Tagus in 1831 (25). — Royer- Collard (d. 1845), 
philosopher and statesman (9). —Ruel, p. 246. — Ruty (d. 1823), general (38). 

S. — St. Pierre, B. de (d. 1814), author (11). — St. Victor, P. de (1881), 
author, bust by Guillaume (9). — Santos, Bias (d. 1832), lofty pyramid with 
sculptures by Fessard (48). — Savary, Rend (d. 1833), Duke ofRovigo, who 
executed the Due d'Enghien by Napoleon's order (35). — Say, Lion (d. 
1896), politician and writer (36). — Scribe (1821), dramatist (35). — S&rurier, 
Marshal (d. 1819; 39). — Seze, Raymond de, p. 245. — Si&yes, E. J. (d. 1836), 
consul along with Bonaparte (30). — Sivel, p. 247. — Soldiers killed at the 
Siege of Paris in 1870-71, p. 247. — Soulii, Fr. (d. 1847), novelist (48). — 
Souvestre, p. 247. — Spinelli, p. 247. — Spuller, p. 247. — Suchet, Marshal 
(d. 1826), reliefs by David d'Angers (39). 

T. — Talma, p. 244. — Tamberlick, p. 2i5. — Taylor, Baron (d. 1879), 
traveller and philanthropist, statue bv G-. J. Thomas (55). — Terry, p. 
246. — Thiers, p. 245. — Thomas, CUment, p. 243. — Tirard (d. 1893), 
minister of finance, relief representing Duty by St. Marcraux (51). 

TT. — Uhrich, General (d. 1886), defender of Strassburg in 1870 (50). — 
Urth, richly decorated Renaissance chapel (53). 

V. — Valence, p. 245. — Verazzi, p. 246. — Victor, Marshal (d. 1841), 
Duke of Belluno (17). — Vigneron, p. 246. — Vignon, Claude (Mme. Rouvier; 
d. 1888), bronze bust by herself. — Visconii, E. Q. (d. 1818), archaeologist (4). — 
Visconli, L. T. J. (d. 1853), one of the architects of the Louvre, son of the 
last-named, recumbent statue by L. Durocher (4). — Vuidet, G. (d. 1891), 
composer of sacred music, rich monument and bronze statue by Aubet (92). 

"W. — Walewski (d. 1868), illegitimate son of Napoleon I., statesman, 
mausoleum (66). — Wilhelm (G. L. Bocquillon; d. 1842), composer, medallion 
by David d'Angers (11). — Wimp ff en, General (d. 1884), bronze bust by 
F. Richard (47). — Winsor (d. 1830), promoter of gas-light illumination (37). 

Y. — Yakovleff (d. 1882), marble chapel in the Byzantine style, with 
paintings on a gold ground, by Fedoroff (82). — Ycaza, de, p. 246. 



The Avenue Gambetta (PI. R, 33), skirting the N. of the cemetery, 
passes the Place Martin-Nadaud (Metro Stat.), near a square adorned 
with sculptures in which is the N. entrance to the cemetery (p. 246), 
and reaches the Place Gambetta (PI. R, 33), with the terminus of 
Line 3 of the Metro (Appx., p. 33). The Mairie of the 20 th Arrondisse- 
ment (Menilmontant; PI. R, 33) in this Place is decorated with paint- 
ings by Glaize and Bin. From the Hopital Tenon (947 beds; Rue 
de la Chine 2) the Mairie is separated by a square embellished with 
a bronze group, by L. Michel, representing the Lame and the Blind, 
and the Datura (Nightshade), a statue by Galy. The Avenue Gambetta 
is continued, to the left, to the Beserooirs de la Dhuis (p. 251). 



BOULEVARD VOLTAIRE. Right Bank 13. 251 

The Rue Belgrand, to the right of the mairie, leads to Bagnolet (ca. I1/4M. ; 
8799 inhab.), on the tramway-line from Romainville to the Pont de la 
Concorde. Other tramway-routes are those from the Opera to Montreuil 
and Fcntenay via Bagnolet (Mairie) and from the Opera to Bagnolet (Rue 
deFloreal); comp. Appx., p 42. Not far off are the hamlet of Les Bruy'eres 
and the Chdteau de Malassis. — In the Rue de Bagnolet, to the right of 
the Rue Belgrand (see above), is the church of St. Germain-de-Charonne 
(partly 11th cent.), in which St. Genevieve (p. 283) took the vows. 

About 1/2 M. to the N. of Pere-Lachaise, on a height to the right 
of the Boul. de Menilmontant, rises the conspicuous church of Notre- 
Dame- de-la- Croix (PL R, 30), a fine Romanesque edifice, built in 
1865-70" by Heret, approached by an imposing flight of steps, with 
a spire over the portal. 

Near this church pass the Chemin de Fer de Ceinture and the tramway 
from the Opera to Bagnolet (see Appx., p. 42). — The MAtropolitain runs 
under the Boul. de Belleville and the Boul. de Menilmontant, to the W. of 
Notre-Dame-de-la-Croix (PI. R, 30). — It was on this portion of the line 
(at the Rue des Couronnes station) that the frightful accident in August, 1903, 
took place, when upwards of 80 persons lost their lives. 

The Rue de Menilmontant and Rue St. Fargeau (entrance at No. 50) lead 
to the E. from the church to O/4 hr.) the Reservoirs de la Dhuis or de Menil- 
montant (PI. R, 36; visitors admitted), which supply one-fifth of Paris with 
water, viz. the high-lying quarters on the right hank, from Charonne to Passy. 
The Dhuis, 75 M. from Paris, is a tributary of the Surmelin, which itself 
joins the Marne near Chateau-Thierry. 

The Boulevard Voltaire (PL R, 27, 31; Metro, Line 5; tram- 
way TF), which begins at the Place de la Re'publique, leads to the 
Place de la Nation (p. 252). At its intersection with the Boul. 
Richard-Lenoir stands the Monument Bobillot, erected to the me- 
mory of French soldiers killed in Tonkin in 1883-85, with a bronze 
statue, by Aug. Paris, of Sergeant Bobillot, who fell at Tuyen-Quan. 
— A little farther to the S.E. in the Boul. Voltaire rises the hand- 
some Romanesque church of St. Ambroise (PI. R, 29), erected by 
Ballu in 1863-69. The facade in flanked by two towers. 

The Square Parmentier (PI. R, 29) is embellished with several statues, 
viz. The Conqueror of the Bastille, by Choppin; The Straw-binder, by Perrin; 
and 'Non omnes morimur" 1 , by Pezieux. 

Farther on is the Place Voltaire (PL R, 29), with the Mairie of 
the 11th Arrondissement (Popincourt) and a bronze statue of Ledru- 
Rollin (1807-74), 'the organiser of universal suffrage', by Steiner. 

The Rue de la Roquette (PL R, 25, 26, 29) leads from the Place 
Voltaire to Pere-Lachaise. The Prison de la Roquette, which was 
once used as a pleasance by Henri II and Henri IV, and later 
became known as the place where prisoners condemned to death 
awaited their execution, was pulled down in 1899. Up to that time 
public executions took place opposite the prison, and the stones on 
which the guillotine was erected may still be seen, opposite the 
Prison for Young Offenders (on the other side of the street). 

On 24th May, 1871, during the Communard 'reign of terror 1 , the Prison 
de la Roquette was the scene of the murder of the venerable Mgr. Darboy, 
Archbishop of Paris, the President Bonjean, the Abbe Deguerry, and 
three other priests, who had been seized by the Commune as 'hostages 1 . 
This was followed by a general massacre of those who had been imprisoned 



252 Riaht Bank 13. FAUBOURG ST. ANTOINE. 

by the Commune, among whom were several gendarmes. — At No. 34, 
Rue de la Roquette, is a bouse dating from 1377. 



The Faubourg St. Antoine, to the E. of the Bastille (p. 180), 
which is so intimately connected with the Revolution, is the great 
centre for the manufacture of furniture. The Rue du Faubourg-St- 
Antoine (PI. R, 25, '28, 31), its main thoroughfare, leads to the Place 
de la Nation (l 1 ^ M.). It is traversed by the tramway T C, and in 
its \Y. portion by the tramway TY (see Appx., pp. 37, 39). On the 
irght, near the opening of the Avenue Ledru-Rollin, rises the Statue of 
Baudin (1801-51). 'representative of the people', who was killed on 
a barricade erected here on the occasion of the 'coup d'etat' of Dec, 
1851 5 the work (bronze) is by Boverie (1901). In the Av. Ledru- 
Rollin is the Church of St. Antoine, in the Romanesque -Byzantine 
style (1903). Farther on, in the Rue du Faub.-St-Antoine, is the 
house (No. iol ; 18th cent.) in front of which Baudin expired (tablet). 
To the right of the street is the Square Trousseau (Pi. R. '28), laid out 
in 1900 on part of the site occupied by the old hospital of that name 
(comp. p. 253). In the centre is the Vintage, a bronze group by 
Vermare (1904). At 184 Rue du Faub.-St-Antoine, on the right, 
is the Hopital St. Antoine (PI. R, 28; 805 beds), which occupies the 
ancient convent of St. Antoine-des-Champs, founded in 1198 and 
rebuilt in 1770. Opposite are a fountain and a curious 'boucherie' 
dating from the period of Louis XY. 

The side-streets opposite the Hopital St. Antoine lead to — 

Ste. Marguerite (PL E, 28), a 17th cent, church, the chapel of the former 
convent of the Filles de Ste. Marguerite, founded in 1631 and rebuilt iu the 
18th century. To the left of the entrance, Descent from the Cross, by 
SatviaH; Massacre of ihe Innocents, by Giordano. In the nave: right, Martyr- 
dom of St. Margaret, by Afaindren: left, St. Elizabeth, by Debay. On the 
pulpit are 17th cent, reliefs. To the right of the altar, Le Brim, Descent 
from the Cross. Ambulatory: right, Gigoux, Israelites in the desert; left, 
Gleyre, Pentecost; lower down, Le Brim (/), Crucifixion. In the Chapelle 
Ste. Marguerite, to the left of the altar, J. Restout, St. Francois de Sales 
and St. Vincent de Paul. Chap, of the Souls in Purgatory : Grisailles, by 
Brtmetti; behind the altar, Souls leaving Purgatory, by Briard. 

Farther on, to the right, the Rue de Reuilli/ (Metropolitain Stat.) recalls 
by its name the castle of Romiliacum, the residence of the Merovingian 
kings (Dagobert). The Ecele BottUe (decorative art) is situated there. 

The Place de la Nation (PI. R, 31; Metro Stat., see p. 253), 
formerly the Place du Trune, forms the E. extremity of Paris, 
while the Place de l'Etoilo forms the N.W. end, upwards of 4*/^ M. 
distant. In the centre is a basin, surmounted by a bronze group 
by Dalou (1899), representing the* Triumph of the Republic; the 
figure of the Republic is seated in a chariot drawn by lions and 
escorted by the genius of Liberty, while to the right and left are 
personifications of Labour and Justice; behind is the goddess of 
Abundance. In 1660, after the conclusion of the Peace of the 
Pyrenees, Louis XIV received the homage of the Parisians on a 
throne erected here, and from that event the 'place' derived its 
former name. The two Parilions surmounted by lofty columns, 



PLACE DE LA NATION. Right Bank 13. 253 

which were erected here by Ledoux on the site of the old Barriere 
du Trone in 1788 (comp. p. 240), are adorned with bas-reliefs by 
Desboeufs and Simart and surmounted with bronze statues of 
St. Louis, by Etex, and Philippe Auguste, by Dumont. 

The Foire au Pain cTEpices, or 'gingerbread fair 1 , held in the Place 
de la Nation and in the Cours de Vincennes during three weeks after 
Easter, always presents a very lively scene. 

The Place de la Nation is one of the chief stations on the Metropolitan, 
which makes the circuit of the Place underground. Here Lines 1, 2N, 
and 6 meet (comp. the Appx., pp. 29, 30, 34). — The entrance to the station 
is at the end of the Rue Fabre-d'' Eglantine, the exit at the end of the Avenue 
du Bel- Air. — Tramway-lines run from the Place de la Nation as follows: 
TG to the Bastille and Vincennes (see below); TE to Pere-Lachaise and 
La Villette; TF to the Halles Centrales and the Louvre; T U to the Place 
dltalie and the Gare de Sceaux; TX to Montreuil and the Chatelet; TS9 
to the Place Valhubert (Jardin des Plantes) ; see the Appx., pp. 37, 38, 39, 41. 

The broad roads which radiate from the Place de la Nation are, 
in addition to the Rue du Faubourg-St-Antoine: the Cours de Vin- 
cennes (Metro, see below), leading to Vincennes (p. 255), the 
Avenue Philippe- Auguste (p. 242), the Boulevards Voltaire (p. 251) 
and Diderot (p. 182), and the Avenue du Bel-Air, which joins the 
Avenue de St. Mande. 

To the S. of the Place, Rue de Picpus 35, is the convent-church of the 
nuns of the Sacre-Coeur and the Adoration Perpetuelle. At the end of 
the garden is the Cemetery of Picpus (PI. G, 31 ; adm. 50 c.J, which con- 
tains the tombs of members of some of the oldest families in France. 
In one corner is the tomb of Lafayette (d. 1834). It owes its origin to 
the 'Cimetiere des Guillotines 1 at one end, where 1306 victims of the 
Revolution, executed at the Barriere du Trone in 1794, are interred (comp. 
p. 66). Their relatives, who include the families of La Rochefoucauld, Gouy 
d'Arcy, etc., obtained burial-places in the same spot. 

To the S. of the Cours de Vincennes is the Rue Michel-Bizot, with the 
new Hdpital Trousseau (PI. G, 34; 335 beds). 



14. Vincennes. 

The Chateau being closed to the public, the principal attraction in this 
neighbourhood is the Bois de Vincennes. The nearest stations are Vincennes 
on the N. or Charenton on the S., accessible by the Me'tropolitain, by tram- 
way, steamboat, or by the Chemin de Fer de Vincennes which connects 
with the Petite Ceinture (see p. 254). 

Of the above routes the 'Metropolitan^ is the most rapid from 
anywhere W. of the central quarters of the city; its terminus lies 
close to the Porte de Vincennes (PI. R, 34 ; see Appx., p. 29). About 
300 yds. farther on, beyond the barrier, is the Paris- Metropolitain 
station of the Chemins de Fer Nogentais (see Appx., p. 44); visitors 
may take the train hence to the Chateau de Vincennes (10 or 15 c), 
and thus save a walk of 20-25 minutes. 

The Tramways running between Paris and Vincennes or Charen- 
ton perform the journey in about 1 hr. There are four lines. 

1. Tramway feom the Louvrb to Vincbnnbs [TC; see Appx., 
p. 37), in 50 min. (fares 40 & 20 c), starting from St. Germain- 
l'Auxerrois (PL R, 20; ///). Route: Rue de Rivoli (p. 90), Rue. 



254 Right Bank Id. VINCENNES. 

St. Antoine (p. 179), Place de la Bastille (p. 180), Rue du Fau- 
bourg -St- Antoine (p. 252), and Place de la Nation (p. 252). Thence 
by tho Boul. de Picpus, Avenue St. Maude, and through the Porte 
St. Mande, reaching Vincennes at the Cours Marigny, to the N. of 
the Chateau. 

2. From the Louvre to Charenton and Cretbil (T K; see 
Appx., p. 38), in 1 hr. (40 & 20 c); starting as above. This line 
follows the Quays, with fine views of the river and the Cite on the 
right, and of the Place du Chatelet, Tour St. Jacques, Hotel de Ville, 
etc., on the left. It bends to the left along the Boul. Henri IV 
(p. 182), passes the Bastille (p. 180), skirts the Bassin de V Arsenal 
(p. 181), and crosses by the Pont d'Austerlitz (p. 327) to the right 
bank of the Seine. Passing next the Viaduct of the Me'tropolitain 
(p. 327), the Ponts de Bercy and de Tolbiac, and, on the right bank, 
the Entrepots de Bercy (PI. G, 28, 29), the most extensive docks in 
Paris , it reaches the Pont National, half of which is used by the 
Oeinture railway, and then the fortifications. Beyond the city, on 
the right bank, are the Magasins Oeneraux des Vins (PI. G, 33). 
Spanning the river is the Pont de Conflans or d'lvry, and on the 
other side Ivry (p. 415). On the right bank are Conflans, with a 
convent of the Sacre'-Cceur, and Les Carrieres, which form part of 
Charenton (p. 258). The cars stop near the bridge (see below). 

3. From the Place de la Republique to Charenton (T F; 
see Appx., p. 39; 40 & 20 c). Along the Orands Boulevards to 
the Bastille (p. 180). Then, Faubourg St. Antoine (p. 252), Rue 
Crozatier (PI. R, 28), behind the Hopital St. Antoine (p. 252), and 
along the Rue de Charenton (PI. G, 28, 31, 32), skirting for a moment 
the Bois de Yincennes. Terminus, Place des Ecoles (PL G, 36). 

4. From the Bastille to Charenton (TS 10; see Appx., 
p. 41; 30 & 20 c). Skirting the Chemin de Fer de Vincennes 
on the left via the Avenue Daumesnil, it passes the Mairie of the 
12th Arrondissement and the Square Daumesnil, containing a group 
(Faun and Satyr) by Hiolle. Traversing the Place Daumesnil (PI. G, 
31), with a fountain adorned with bronze lions, it enters the Bois, 
running between St. Mande (p. 255) and the Lac Daumesnil (p. 256). 
It stops in the upper part of Charenton. 

The Steamboat Trip is very pleasant in fine weather (stations, 
see Appx., p. 48). The route as far as the Pont d'Austerlitz has 
been described at p. 327 and above. Passing beneath the Pont 
de Conflans (see above) and the Passerelle d' Alfortville , we reach, 
near a lateral canal, the confluence of the Marne, up which we steer. 
We pass under the bridge of the Paris-Lyons railway and, after 
stopping at Alfortville (p. 258), disembark at the Pont de Charenton, 
nearly 1/2 M. to the S. of the Bois de Vincennes. 

Chemin de Fer de Vincennes. This line has a station at the 
Bastille (PL R, 25 ; V), whence trains run every V^r., the 3 3 / 4 M. jour- 
ney occupying about 1 / i hr. ; fares 45 & 30 c. Following the Avenue 



"VHle-Evxara-V Brv-sur-llamfi 




:rej* axtSomoa 



VINCENNES. Right Bank Id. 255 

Daumesnil, the train stops at Reuilly (PL G,3l), near the Place Dau- 
mesnil(p. 254), and at Bel- Air (PL G, 34), where there is a connection 
with the Oeinture railway (see Appx., p. 46). Both these stations 
are within Paris. — Next comes St. Mande, a locality with 15,726 
inhab. situated near the Bois de Yincennes and the Lac de St. Mande 
(p. 256), with two refuges for the aged and a large cemetery (Rue de 
Lagny, to the N. of the Rue de Paris ; see the Map) containing a 
bronze statue by David d' Angers of Armand Carrel, who was killed 
in a duel (1836) by Emile de Girardin. 

Vincennes. — The Railway Station is in the Rue de Montreuil, which 
leads on the right (S.) to the N.W. corner of the Chateau. The Rue du 
Midi, opposite the station, leads to ihe Cours Marigny (see below), another 
way to the Chateau (S. side). 

Caf£s-Restaukants. — Cafe" de la Paix, Coura Marigny, near the tram- 
way-terminus, dej. 2V2, D. 3 fr. ; Cafe" Continental, Rue de Paris 30, with a 
small garden, below the chateau, similar charges (also beds) 5 Cafe Frangais, 
in front of the chateau; Cafe" -Restaurant de la Porte Jaune, in the wood, 
on an island in the Lac des Minimes (p. 257), good; Ca/4 du Chalet-du-Lac, 
at the Lac de St. Mande (p. 256). 

'Tramways. 1. To Paris, see pp. 253, 254. — 2. Chemin de Fer Nogentais, 
see Appx. p. 44. 

Post and Telegraph Office in the Rue de THotel-de-Ville. 

Vincennes, a town with 31,405 inhab., is a place of no import- 
ance except as one of the fortresses in the outskirts of Paris. The only 
object of interest in the town is the bronze Statue of Gen. Daumesnil 
(1777-1832), by L. Rochet, in the Cours Marigny, near the tramway- 
station. The attitude of the figure is an allusion to the anecdote 
that when the general, who defended the chateau in 1814 and 1815, 
was called on to surrender, he replied that he would not do so till 
the Allies restored to him the leg he had lost at the battle of Wag- 
ram. At the end of the Cours is the modern Renaissance Mairie. 
A band plays on Thurs. and Sun. in summer in the Cours. Annual 
fete on the day of the Assumption and the following Sunday. 

The Chateau de Vincennes was founded in the 12th cent., con- 
verted into a small-arms factory in 1757, andrefortified in 1832-44 
and fitted up with an extensive arsenal, a school of musketry, etc. 
An order from the Governor of Paris (at the Hotel des Invalides) is 
necessary to view it (on Sun., Thurs., and holidays, 12-4); but the 
chapel is public at the services on Sun. and holidays, 8, 10, and 
11.15 a.m. The Chapel, with its tasteful Gothic facade, begun in 
1379 and completed in 1552, has recently been restored. The lofty 
vaulting and the stained glass by Jean Cousin are worthy of notice. 
The window at the end of the nave, representing the Last Judgment, 
includes a figure (recognizable by the blue ribbon in her fair hair) of 
Diane de Poitiers. The monument of the Due d'Enghien, erected by 
Louis XYIII in 1816, now in the old sacristy, is a poor work by 
Deseine. The Donjon, or Keep, in which state -prisoners were 
formerly confined, is a massive square tower of five stories, 170 ft. 
in height, with four smaller towers at the corners. 



256 Right Bank 14. VINCENNES. 

St. Louis visited this chateau frequently, and is said to have administered 
justice under an oak-tree in the wood (see below). Many reigning sover- 
eigns and other illustrious personages died within its walls: Louis X 
(in 1316), Philippe V (1322), Charles IV (1328), Henry V., King of England 
(1422), Charles VI (d. 1422), Charles IX (1574), Mazarin (1661). Charles V was 
horn there in 1337. Queen Isabeau de Baviere retired thither. The chateau 
also was used as a Slate Prison from the days of Loais XI (1461-83) on- 
wards. Among others who have been confined there may be mentioned 
the King of Navarre (1574). the Grand Conde (1650), Cardinal de Retz (1652), 
Fouquet (1661), Diderot (1749), Count Mirabeau (1777), the Due d'Enghien 
(1804), who was shot there for conspiracy, by order of Napoleon I., the min- 
isters of Charles X (1830), and the conspirators against the National 
Assembly (May 1848). 

The Bois de Vincennes, which was laid out in 1860-67, owes less 
to art than the Bois de Boulogne, and is of scarcely inferior attrac- 
tion. The park, including the Champ de Manoeuvres in the middle 
and the artillery 'Polygone', covers an area of about 2300 acres. 

The street to the right of the chateau soon brings us to the 
Esplanade and the most frequented part of the Bois. To our left is 
the Plaine de Gravelle , which divides the Bois into two distinct 
parts. The plain extends from this point to the chateau, nearly 2 M. 
distant, and is at places nearly 1 M. in width. At the beginning, 
on the right, are large Barracks. On the left lies the Champ de 
Manoeuvres, used for infantry drill; and on the right is the 
Polygone de V Artillerie . At a crossway in the Champ de Man- 
oeuvres, to the S. of the Ecole de Pyrotechnie, rises a modern Pyramid, 
where the oak under which St. Louis administered justice is said 
to have stood. 

The first walk on the right leads to the Lac de St. Mande, near 
the village of that name (p. 255), the smallest hut prettiest of the 
lakes in the Bois, with beautifully wooded environs, affording 
charming walks {Cafe du Chalet- du- Lac, good). — The Avenue 
Daumesnil, which also begins at the Esplanade and may he reached 
by various paths to the left of the lake, is a continuation of the 
street of the same name in Paris. The route diverging to the left, 
at the point where the tramway from the Bastille also turns (p. 254), 
leads towards Charenton (p. 258). 

At the end of the Avenue Daumesnil nearest Paris (No. H>is) ig a 
School of Arboriculture and Gardening, open to the public on Sun., Tuea., 
Thurs., and holidays from 1 to 5 or 6 p.m. — At the turning of the tram- 
way is the Restaurant de la Demi-Lune (a la carte). 

The Lac Daumesnil, or de Charenton, is the largest lake (50 acres) 
in the Bois (boats for hire). It contains two pretty islands, the He 
de Reuilly (Cafe des Iles-Daumesnil; concert at the kiosque on Sun. 
3-6, sometimes military bands during the week), with a pretty arti- 
ficial grotto beneath a small temple, and the lie de Bercy, with the 
Museum of Forestry. These islands aTe connected with each other 
and with the mainland on the Charenton side by bridges, and may 
be reached by a ferry (10 c.) from the Avenue Daumesnil. 

The Moseum of Forestry, in the He de Bercy, is usually open on Sun. 
from 10, and on Tues., Thurs., and Sat. from noon to 4 or 5. In the large 



YINCENNES. Right Bank 14. 257 

saloon on the groundfloor, between the tree- trunks acting as columns, are 
grouped specimens of wood of all kinds, with articles made from them. 
Implements of forestry are also exhibited here, and in an annexe is a 
Diorama, representing the inundation-works and afforestation of an Alpine 
valley. — The rooms on the first floor contain farther specimens of wood; 
two paintings (inundation-works in the Alps and Pyrenees), curiosities 
(e.g. injuries caused by insects), naturalized animals, etc. 

To the S."W. of the lake is the Piste Velocipedique Municipale 
(p. 46; 4 laps to the mile). The 'Grand Prix de Paris' (10,000 fr.) 
is competed for here in July. 

The Avenue de Gravelle, to the left before Charenton (p. 258) 
as we come from the Lac Daumesnil, traverses the S. part of the 
Bois. A little to the right are the Asile de Vincennes, for convales- 
cents of the artizan class, and the Asile Vacassy, for the victims of 
accidents in Paris. About l^M. from Charenton this avenue ends 
at the Lac de Gravelle, a reservoir fed by means of a steam-pump 
on the hank of the Marne, and connected by streams with the other 
lakes. A few paces from the lake is the Bond- Point de Gravelle, com- 
manding a survey of the valleys of the Marne and Seine. Adjoining 
it is the Cafe-Restaurant du Plateau-de-Gravelle (de'j. 3, D. 4 fr.). 

The Bace Course of Vincennes, a little to the left, is the largest 
racecourse near Paris (see p. 45). 

Farther on, to the right, we pass the Redoubts of Gravelle and 
La Faisanderie, two forts ending the wood on this side and com- 
manding the loop of the Marne (see p. 417). Between them is a 
Model Farm (experimental husbandry) worked by the Ecole dAlfort 
(p. 258) and the Institut Agronomique of Paris. By the second re- 
doubt is the Ecole Militaire de Gymnastique of Joinville. 

Beyond the Redoute de la Faisanderie we have three roads before 
us. That to the left (Route de Joinville) leads direct to Yincennes, 
passing between the camp and the Lac des Minimes (see below) ; 
that in the middle (Avenue de la Belle-Gabrielle or des Minimes) 
also leads towards the lake (to the left at the first fork; the turning 
to the right ends at the Fond de Beaute, with a fine view, passing on 
the way the Jardin dfEssais Coloniaux on the left) ; lastly, the road 
to the right leads to Nogent-sur-Marne. 

The Lac des Minimes, which was excavated on ground belonging 
to the order of the Minimes, is 20 acres in area and contains three 
islands. The smallest of these, the He de la Porte-Jaune at the N. 
end, is connected with the mainland by a bridge and contains a 
Cafe- Bestaur ant. Near this point passes the tramway from Nogent 
to Paris by which we may return (Porte de Yincennes stat. on the 
Metropolitain, see p. 253). The other islands, though united with 
each other, can be reached only by boat. Round the lake, at some 
distance from its banks, runs the Boute Circulaire (2 M.) and an 
avenue also skirts the bank (10 min. shorter). The 'route circulaire' 
passes an open grassy space affording a view of the drill-ground and 
pyramid, the infantry-butts, and the artillery- range. 

Baedekek. Paris. 16th Edit. 17 



258 Bight Bank 14. CHARENTON. 

Opposite the He de la Porte-Jaime begins an avenue leading to Fontenay- 
sous-Bois (p. 416), a station on the Vincennes railway, about V3 M. to the 
N.E. A tramway runs hence to Paris (Opera) via Montreuil-sous-Bois 
(see below). 

On the S.W. of the park of Vincennes lies — 

Charenton. — Capias-Restaurants. Cafi de la Terrasse, Cafe" du Pont, 
both at the bridge-, Restaurant Barat, Eue de St. Mande 64, unpretending, 
with garden. — Piste Vilocipi digue Municipale, Avenue de St. Mande (p. 46). 

Charenton, or Charenton-le-Pont, the terminus for the Paris steam- 
boats and several lines of tramways (see p. 253), reached also by 
numerous trains (from the Gare de Lyon 60, 45, or 30 c), is situated 
at the confluence of the Marne and the Seine. Including Conftans 
and Les Carrieres, which adjoin it on the W., it numbers 17,980 in- 
habitants. It is known for its lunatic asylum (see below).* Fetes are 
held here on the 1st and 2nd Sun. in July and September. 

A little farther on is St. Maurice^(pop. 7325) with the large Lunatic 
Asylum of Charenton, about 1/3 M. from the bridge. It was founded in 1641 
and was administered originally by the friars of St. Jean-de-Dieu. Until 
the aboli'ion of 'lettres de cachet 1 (p. ISO) it was not only an asylum for 
insane people, placed there by their relatives, but a prison for victims of 
treachery and greed. The present buildings, dating from 1830, with arcades 
and roofs in the Italian styie, rise picturesquely on the slope of the plateau 
occupied by the Bois de Vincennes. In the Place de la Mairie is a Monument 
to Eugene Delacroix (1798-1863), the painter, who was born at St. Maurice; 
bust by Dalou. 

On the left bank of ihe Marne is Alfortville (15,9S0 inhab.), connected 
with Charenton by a bridge. The Veterinary College of Alforl, Grande Rue 7, 
was founded in 1766 and trains also for the army. Alfortville is traversed 
by tramways running from the Pont de la Concorde to Bonneuil; from 
Charenton to Alfortville (Rue des Camelias); and from tue Porte de Viu- 
cennes to the Porte d'Orle'ans (see Appx., pp.. 42, 43). 

From Charenton to St. Maur, see p. 417 and the Appx., p. 45. 
♦ 

Vincennes is continued on the N. by (l l /« M.) Montreuil-sous-Bois (4»/2 M. 
from Paris), with 31,773 inhab., a place noted for its peaches, the culti- 
vation of which occupies an area of 700 acres. It has a market on Sun. 
and Thurs., ami fetes on the 1st Sun. in July aud Ihe 2nd Sun. in Sep- 
tember. — Montreuil is connected with Paris by a tramway (TX) starting 
from the Chatelet (40 or 20 c. ; in 33 min.) and by the tramway from the 
Opera to Fontenay-sous-Bois (to Montreuil 54 min , thence to Fontenay 
12 min.); see the Appx., pp. 39,42. Omnibus from Vincennes, 20 c. Con- 
veyances from the Avenue Victoria, 40 c. 



THE CITE AND THE LEFT BANK OF THE SEINE. 



The Cite (PI. R, 20, 23, 22 ; V) is the most ancient part of Paris. 
Here lay, in the time of Caesar, the Gallic town ofLutetia Parisiorum. 
and the Paris of the Romans and the Franks was confined to the 
same site, with the addition of a small settlement on the left bank 
of the Seine. At a later period the town gradually extended on 
the right bank, but the Cite still retained its prestige as the seat 
of the old Royal Palace and of the cathedral of Notre-Dame. On 
one side of Notre-Dame rose the Episcopal Palace and the Hotel- 
Dieu, originally an asylum for pilgrims and the poor ; on the otheT 
side was the Cloitre Notre-Dame, or house of the Canons, who play 
so prominent a part in the history of the university. In the Cite the 
predominant element in the population was the ecclesiastical, while 
the burgesses and the men of letters chiefly occupied the districts to 
the N. (right bank, la Villi) and S. (left bank, V Universite) respect- 
ively. — The Cittf has long ceased to be the centre of Parisian life, 
but it possesses the two finest sacred edifices in Paris, the Cathedral 
of Notre-Dame and the Sainte-Chapelle. The Hotel- Dieu still exists, 
but the site of the royal palace is occupied by the Palais de Justice. 

The semicircular part of Paris which lies on the left bank of the 
Seine forms fully one-third of the whole city, its distinctive feature 
consisting of numerous learned institutions , the chief of which is 
the Sorbonne, or university, in the Quartier Latin. At the W. end 
of this part of the town are several ministries and embassies, the 
Chambre des Deputes, a number of large military establishments, the 
residences of the old aristocracy (in the Quartier St. Germain), and, 
more to the S., the Palais du Luxembourg, now occupied by the 
Senate. The chief ohjects of interest on the left hank are the 
Musee du Luxembourg with its gallery of modern works of art, the 
Pantheon, the Musie de Cluny, illustrating mediaeval and Renais- 
sance art, the Jardin des Plantes, and the Hotel des Invalides. 

15. The Cite and the He St. Louis. 

The Cite" is approached from the right bank of the Seine by the 
Pont-Neuf, the Pont au Change, the Pont Notre-Dame, and the Pont 
d'Arcole, of which the first two are the most important. 

The *Pont-Neuf (PI. R, 20; V), at the W. end of the Cite', a 
bridge 360 yds. in length and 25 yds. in width, crossing both arms 
of the Seine, is, in spite of its name, the oldest bridge in Paris. It 

17* 



260 Cite 15. PONT AU CHANGE. 

was constructed in 1578-1604, but was remodelled in 1852, while 
the end next the left hank was restored in 1886. The masks sup- 
porting the cornice on the outside are copies of those originally 
executed by J. B. Du Cerceau. On the island, halfway across the 
bridge, rises a fine Equestrian Statue of Henri IV, by Lemot, erected 
in 1818 to replace one which had stood here from 1635 to 1792, 
when it was melted down and converted into cannon. By way of 
retaliation Louis XVIII caused the statue of Napoleon on the Yen- 
dome Column and another of the emperor intended for the column 
at Boulogne-sur-Mer to be melted down in order to provide mater- 
ial for the new statue. The Latin inscription at the back is a copy 
of that on the original monument. At the sides are two reliefs in 
bronze, which represent Henri IV distributing bread among the be- 
sieged Parisians and causing peace to be proclaimed by the Arch- 
bishop of Paris at Notre-Dame. — The bridge commands an ad- 
mirable view of the Louvre. The large edifice on the left bank is 
the Monnaie (p. 291), and beyond it is the Institut (p. 289). 

In the 17th and 18th cent, the Pont-Neuf was the favourite rendez-vous 
of news-vendors, jugglers, showmen, loungers, and thieves. To this motley 
crowd Tabarin, a famous satirist, used to spout his wilticisms, from a plat- 
form which he set up between Nos. 13 and 15 in the Place du Pont-Neuf. 
One of the first hydraulic pumps, the 'Samaritaine 1 , was erected on this 
bridge (model at the Musee Carnavalet). Near by are the swimming-baths of 
'La Samaritaine'' (see p. 25). Down below, behind the statue of the king, 
is the Jardin Henri IV or Jardin du Vert-Galant. The best view of the 
bridge is obtained from this garden or from the banks of the Seine. Second- 
hand book stalls line the quays. 

Opposite the equestrian statue, a few paces distant, is the Place 
Bawphine (called Place de Thionville under the Revolution), partly 
surrounding which are some 17th cent, houses of brick, with festoons 
of white stone. — The W. facade of the Palais de Justice (p. 261), 
towards the Place Dauphine, was constructed by Due in 1857-68. 
The gravity of the style accords well with the purpose of the building. 
Eight engaged Doric columns and two corner-pillars support the 
rich entablature. The six allegorical figures below the windows re- 
present Prudence and Truth, by Dumont ; Punishment and Protec- 
tion, by Jouffroy; Strength and Justice, by Jaley. Three inclined 
slopes ascend to the entrance of the Vestibule de Harlay (p. 262). 

The Pont au Change (PI. R, 20; V) leads from the Place du 
Chatelet to the Cite (p. 174). The bridge, which is one of the most 
ancient in Paris, and was only less celebrated than the Pont-Neuf, 
was entirely rebuilt in 1858-59. Its name is derived from the shops 
of the money-changers and goldsmiths with which the old bridge 
was flanked. 

The bridge commands a fine view. Opposite lies the Cite, with the 
Palais de Justice and the Tribunal de Commerce ; higher up the river are 
the Hotel-Dieu and Notre-Dame (p. 265) ; to the left the Hotel de Ville 
and the tower of St. Gervaia (p. 178); down the river appear the Pont-Neuf, 
the Louvre, etc. To the right is the Quai de la M&gisserie (tannery), which 
used to be called the Quai de la Ferraille, from the dealers in old iron 
who resorted thither. To the left is the Quai de VHorloge, formerly the 




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PALAIS DE JUSTICE. Cite 15. 261 

Quai des Lunettes, which name is partially justified by the opticians' shops 
siill to be seen. It is also known as the Quai des Morfondus ('of the 
chilled 1 ) on account of the icy blasts which sweep it in winter. — Above 
the Pont au Change and the Pont St. Michel (p. 569) may be seen (1807) 
the works in connection with Line 4 of the Mitropolitain, the tunnel of 
which is to pass under the Seine (see Appx., p. 33). 

On the other side of this "bridge is the Boulevard du Palais, 
the chief thoroughfare in the Cite, the prolongation of which on the 
lefc hank of the Seine is formed hy the Boulevard St. Michel (p. 269). 

The *Palais de Justice (PL E, 20 ; F), a vast complexus of build- 
ings, has occupied since the loth cent, the site of the ancient palace 
of the kings of France, which was itself preceded hy that of the old 
Roman governors. St. Louis (d. 1270) presented part of the building 
to the Parlement, or supreme court of justice, Charles VII adding 
the remainder. In 1618 and again in 1776 the palace was so much 
injured hy fire that only four towers, parts of the hasement, and the 
Sainte-Chapelle (p. 262) have been preserved. The Tour de VHor- 
loge, at the corner, dates from 1298 and is adorned with sculptures 
hy Germain Pilon, restored in 1850. Its clock, which has a handsome 
dial, was reconstructed in 1370 and restored in 1685 and 1850; it is 
perhaps the oldest public clock in France. On the N. side are the 
Tour de Cesar and the Tour d J Argent, and farther on the crenellated 
Tour St. Louis or Bon-Bee. The Tours de Cesar and de l'Horloge, 
which formerly stood at the head of the bridge of Charles the Bald 
(823-877), now flank the entrance to the Conciergerie (p. 263). — 
The buildings at the corner of the Boul. de Paris and the Quai 
des Orfevres are to he pulled down to make room for an addition to 
the Palais de Justice. 

The Palais is open daiiy, 11-4, except Sundays and holidays, and visitors 
may then inspect the Salle des Pas-Perdus and the Ste-Chapelle; the courts 
themselves, which are also public, open at noon. Besides the main entrances 
in the Boulevard du Palais and. the Place Dauphine there are various 
side-entrances. Most of the courts are on the first door. The Court of First 
Instance, with its offices, lies to the right of the Salle des Pas-Perdus (see 
below; civil courts) and to the left of the court of the Ste-Chapelle 
(p. 262; criminal courts). The Cour de Cassation is beyond the Salle des 
Pas-Perdus (see below) and the Appeal Court (p. 262) beyond the court of 
the Sainte-Chapelle. 

The Cour du Mai or Cour d'Honneur, adjoining the Boulevard 
du Palais, is enclosed by a handsome railing dating from 1787 (re- 
stored in 1877). This court owes its name to the maypole which was 
annually erected there by the lawyers' clerks, whose association was 
known as La Basoche. The Doric pediment of the facade is adorned 
with allegorical figures, and is covered with a quadrangular dome. 
Mounting the steps, we enter the — 

Galerie Marchande, the first vestibule of the Palais. Neither this 
nor the Cour d'Ap-pel at the top of the staircase is of any special 
interest. 

Turning to the right of the gallery, we enter the *Salle des Pas- 
Perdus, serving as a vestibule to most of the seven Civil Chambers 
constituting the Court of First Instance. This hall (restored since 



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262 Cite 15. PALAIS DE JUSTICE. 

it was burnt by the Communards in 1871), which, consists of two 
vaulted galleries, is one of the largest of the kind in existence, 
measuring 240 ft. in length, 90 ft. in width, and 33 ft. in height. 
Before the fire of 1618 this was the great hall of the palace, 
where the 'Basoche' was privileged to perform moral plays, satirical 
dramas, and farces. On the right side is a monument erected to 
the minister Malesherbes, who was beheaded in 1794, the defender 
of Louis XYI before the revolutionary tribunal ; the statue is by 
J. Bumont, the figures emblematic of France and Fidelity are by 
Bosio, and the bas-relief by Cortot. Nearly opposite is a similar mon- 
ument to Berryer (d. 1868), a celebrated advocate, by Chapu. On the 
left is the Premiere Chambre Civile, which was constructed by St. Louis, 
restored under Louis XII, and since altered. It was the gilded 
chamber or 'Grand' Chambre du Parlement', into which Louis XIV 
made his historical entrance, booted and spurred and whip in hand. 
The revolutionary tribunal met there in 1793 and passed the death- 
sentence on Marie Antoinette (see p. 264). 

To the right of J;he Oalerie Lamoignon, which begins between 
the Salle des Pas-Perdus and the Galerie Marchande, are the three 
halls of the Cour de Cassation, all with fine ceilings (best days for 
visitors, Thurs., Frid., & Sat. ; gratuity 1 fr.). Adjoining the Chambre 
Criminelle is the Galerie St. Louis, adorned with a statue of St. 
Louis and frescoes by Luc. 01. Merson. The Chambre Civile, the 
most magnificent, has a painted and gilded cassetted roof and is 
adorned with paintings in the spandrels (Glorification of Law, by 
Baudry, and Law and Truth, by Belaunay). 

At the end of the gallery is the Vestibule de Harlay, on the 
side next to the Place Dauphine (p. 260) , the facade of which is 
seen on the way to the Pont-Neuf. This hall is embellished with 
statues of four monarchs who were eminent as legislators : St. Louis, 
Philip Augustus, Charlemagne, and Napoleon I. On the left, a bust 
of Yiollet-le-Duc, the architect, by Chapu. The staircase in the mid- 
dle, with a figure of Justice by Perraud, leads to the left to the Cour 
d' Assises, with a ceiling by Lefebvre, and to the right to the Chambre 
des Appels de la Police Correctionnelle. On the landing, Law, by Buret. 

The Oalerie de la Premiere Presidence, parallel to the Galerie 
Lamoignon, leads from the Vestibule de Harlay to the new parts of 
the Palais. To the right, about halfway along the gallery, is the 
Premiere Chambre de la Cour d'Appel, handsomely decorated like 
those of the Cour de Cassation, with a ceiling-painting (Justice) by 
Bonnat. At the end are two gilded Renaissance scutcheons, with 
allegorical figures. 

The four Chambres de la Police Correctionnelle, Nos. 8 and 9 on 
the first floor, Nos. 10 and 11 on the second, have a special entrance 
in the Cour de la Sainte-Chapelle, on the W. side. 

The ** Sainte - Chapelle , the most interesting portion of the 
Palais de Justice, lies to the left of the main entrance, in the 



SAINTE-CHAPELLE. Cite 15. 263 

same court as the Police Correctionnelle. It is open to the public, 
11 to 4 or 6 daily, except Mon. and holidays. It is seen to advan- 
tage only in bright weather. This was the ancient palace-chapel, 
erected in 1245-48 during the reign of St. Louis by Pierre de 
Montereau for the reception of the sacred relics (see p. 267) now at 
Notre - Dame , which St. Louis brought back from the Crusades in 
1239. The chapel, which was restored after 1837, chiefly by 
Viollet-le-Duc, is a perfect gem of Gothio architecture, but un- 
fortunately is partly concealed by other portions of the Palais. 
In 1871 it narrowly esoaped destruction, as it was almost entirely 
surrounded by a blazing pile of buildings. The only service now 
performed here is the 'Mass of the Holy Ghost', celebrated an- 
nually on the re-opening of the courts after the autumn vacation. 
The interior consists of two chapels, one above the other. 

The Loweb, Chapel (Chapelle Basse) was used by the domestics 
of the palace. In the floor are tombstones of numerous canons of 
the Ste-Chapelle. A spiral staircase ascends to the — 

Uppbb, Chapel, in which the court attended divine service. 
The proportions of this chapel, which is 66 ft. in height, 115 ft. in 
length, and 36 ft. in width, are remarkably light and elegant. The 
fifteen large windows (49 ft. by 13 ft."), framed in beautiful tracery, are 
separated only by the width of the buttresses. The magnificent stained 
glass, part of which dates from the time of St. Louis, was restored 
by Lusson from designs by Steinheil. The subjects are from the Bible 
and the lives of saints. The first window on the right represents the 
Legend of the Cross and the Translation of the Crown of Thorns and 
of the wood of the Cross (see p. 267). The glass in the rose-window, 
dating from the 15th cent., represents subjects from the Apocalypse. 
The polychrome decoration of the walls harmonizes well with the 
coloured windows. The two recesses under the windows of the fourth 
bay were reserved for the royal family. From the little grated opening 
in the 5th bay on the right Louis XI used to join in the service without 
being seen. Against the pillars are placed statues of the Apostles 
(partly restored). Behind the altar is the handsome Gothic canopy, 
in wood, where the sacred relics were formerly preserved. It is 
provided with two small spiral staircases. — We quit the chapel by 
the portal, turn to the right, and pass through a glass-door (opened 
by the custodian) into the Galerie Marchande (p. 261). 

The Gonciergerie, a prison famous in the annals of France, occupies 
the lower part of the Palais de Justice adjoining the Seine (bell at the 
first door on the left as we come from the boulevard). Most of the 
political prisoners of the first Revolution were confined here before their 
execution. Profound interest attaches to the small chamber or cell in 
which Marie Antoinette was imprisoned, in which a monument was placed 
in 1816. We pass thence into the cell in which Robespierre was afterwards 
confined. Beyond these is the ancient chapel, which became the Hall of 
the Girondists, and is now restored to its old use. Other celebrated pri- 
soners at the Conciergerie were Bailly (p. 312), Malesherbes (p. 262), Mme. 
Roland, Camille Desmoulins (p. 89), Danton, Fabre d'Eglantine, Georges 
Cadoudal, and the Comte de La Valette. Our attention is drawn to two 



264 Cite 15. TRIBUNAL DE COMMERCE. 

paintings: Marie Antoinette bidding farewell to her family when she was 
about to be transferred from the Temple to the Conciergerie, by Drolling, 
and Marie Antoinette receiving the sacrament in her eel), by Pajou (1817). 
This prison, the Salle des Gardes, the passage called the Rue de Paris or 
Rue des 'Pailleux 1 (where more than 250 victims of the Jacobins v/ere 
sometimes lodged with only straw to lie on), and the fine Gothic hall of 
St. Louis (under the Salle des Pas-Perdus, p. 261 ; restore! by Viollet- 
le-Duc) are shown on Thurs. (9-5) to visitors provided with a permission 
obtained on written application to the Prefet de Police de Paris (bureau des 
prisons), Rue de Lutece, opposite the Palais. The custodian (fee) points 
out the sombre door leading to the Cour du Mai (p. 261) through which 
passed more than 2700 victims of the Revolution, and which communicates 
with the courtyard where the 'September Massacres'" took place. — The 
so-called Cuisines de St. Louis, relics of the palace of the 13th cent., are 
not shown. 

Opposite the Palais de Justice, on the E. side of the Boul. do 
Palais , rises the Tribunal de Commerce (PI. R, 20 ; Y), bnilt by 
Bailly in the Renaissance style in 1860-66. It is surmounted by 
an octagonal dome, 138ft. high, which, being in the line of the 
Boulevard de Sevastopol (p. 84) , is visible from the Gare de l'Est. 
The interior, open to the public on week-days, deserves a visit. The 
Grand Staircase ascends to the Audience Chamber and the Bank- 
ruptcy Courts. On the first landing are statues of Industrial Art 
by Pascal, Mechanical Art by Chapu, Terrestrial Commerce by Main- 
dron, and Maritime Commerce by Cabet; and at the top are 
Caryatides by Dubut. In the Vestibule, on the first floor, are busts 
of L'Hopital, Chancellor of France (1505-73), and Colbert (see p.xvii). 
The Salle d' Audience on the first floor, to the left of the staircase, 
wainscoted with oak, is adorned with panels in imitation of porce- 
lain painting, and with four historical pictures by Robert-Fleury 
and P. Delance. The chief hearings are on Monday. Enclosed 
within the building (to the left of the grand staircase and then to 
the right) is a fine Quadrangle surrounded by two colonnades, one 
above the other, above which are Caryatides by Carrier-Belleuse 
supporting the iron framework of the glass-covered roof. 

The broad Rue de Lutece, opposite the principal entrance to 
the Palais de Justice, leads to the Hotel-Dieu. In the middle is a 
bronze statue of Th. Renaudot (1586-1653), philanthropist, physician, 
and founder of journalism in France (see p. 265), by A. Boucher 
(1892). — The small 'place' adorned with two fountains, behind 
the Tribunal de Commerce, to the left, is usually the scene of the 
chief Flower Market in Paris on-Wed. and Sat., and of a Bird Market 
on Sun. j at present, however, it is occupied by the works in connec- 
tion with the new line 4 of the Metropolitain. 

The house at No. 9 in the Quai aux Fleurs (PL R, 23, 22; V) occupies 
the site of the abode of Heloi'se and Abelard (see p. 244 ; tablet at No. 11). 
Farther on, in the Rue des Ursitis (PI. R, 22, V; parallel to the quay), 
No. 19, are the remains of the 12th cent. Chapelle St. Aignan 5 and at No. 18 
in the Rue Chanoinesse (the second street parallel to ttie quay) is the so- 
called Tour de Dagobert (PI. R, 22, V\ 15th cent.), with an ancient wooden 
balustrade, whence the carving on Notre-Dame i9 well seen (apply to the 
concierge on the left). 



HOTEL-DIEU. Cite 15. 265 

The Prefecture de Police (PI. R, 19, 20; V) occupies the old 
municipal "barracks and officers' quarters in the Boul. du Palais, 
adjoining the Pont St. Michel (p. 269). There are three main depart- 
ments : those of the central administration, the police-commissaries, 
and the city police. The offices are open from 10 to 4 or 5. The 
Lost Property Office (open 10-4) is at Quai des Orfevres 36 (PI. R, 
20; F), beside the Palais de Justice. 

When an article is lost the best plan is to write to the Prefet de Police 
(no postage-stamp necessary), furnishing as full details as possible. 

At No. 8 in the Quai du MarcM-Neuf, beyond the Quai des Orfevres, 
stood the house of Th. Kenaudot (p. 264), who founded the Gazette de 
France (see p. 53; tablet). 

The Hotel-Dieu (PI. R, 22, 23; F), a little farther on, with its 
facade towards the Place du Parvis-Notre-Dame (see "below), was 
re-erected on this site in 1868-78, "by Diet. It stood formerly on 
the right of the Place, on either hank of the S. arm of the Seine, and is 
the oldest hospital in Paris, or perhaps in Europe, having been founded 
about 660. It was originally a nunnery and afterwards an asylum for 
pilgrims. This hospital is admirably fitted up, with 828 beds; three 
medical chairs are attached to it. 

The Place du Parvis-Notre-Dame (PI. R, 22 ; V), in front of 
the cathedral, is embellished with a bronze Equestrian Statue of 
Charlemagne, the horse being led by Roland and Oliver. It was de- 
signed by L. and C. Rochet. The present form of the Parvis dates 
from the reconstruction of the Hotel-Dieu. 

The old Parvis was much narrower. The Petit-Pont here spans the river 
in the place of one of the two ancient Roman bridges. It leads to the 
Place du Petit-Pont, the site of the Petit-Chatelet demolished in 1782. An in- 
scription at No. 2 records that the 'Tour de Bois 1 which stood there was held 
in 886 by twelve Parisian heroes against a force of Normans. 

The *Cathedral of Notre-Dame (PL R, 22; F), founded in 1163 
on the site of a church of the 4th cent., was consecrated in 1182, 
but the nave was not completed till the 13th century. The found- 
ation-stone "was laid by Pope Alexander III., at that time a refugee 
in France. The general appearance of the building is rather heavy 
and squat, but this is owing to circumstances that could hardly have 
been foreseen by the architects. The spires originally projected were 
never added to the towers ; the church is surrounded by lofty houses 
instead of by the low-roofed dwellings of the period; and, lastly, the 
adjacent soil has gradually been raised to the level of the pavement 
of the interior. 

In 1793 Notre-Dame was Converted into a 'Temple of Reason'', the 
sculptures were mutilated, and the statue of the Virgin replaced by one 
of Liberty. On a mound thrown up in the choir burned the 'torch of 
truth', over which rose a Greek 'temple of philosophy 1 , containing the 
enthroned figure of Reason (represented by Maillard, the ballet-dancer), 
who received in state the worship of her votaries. The orgies of which 
the church became the scene led, however, to its being closed in the follow- 
ing year. In 1795 the 'constitutional' Catholics re-opened it as a place of 
divine worship, and in 1802 it was definitively handed over to the orthodox 
Catholics. After 1845 it was restored by Lassus, Viollet-le-Duc, and Boes- 
willwald. 



266 Cite 15. NOTRE-DAME. 

The *Facade, the flnest^part of the cathedral, dating from the 
beginning of the 13th century, and the earliest of its kind, has 
served as a model for the facades of many other churches in the 
N.E. of France. It is divided into three vertical sections by plain 
buttresses and consists of three stories, exclusive of the towers. 
The three large recessed portals are adorned with sculptures, which, 
so far as they have survived the ravages of the Revolution, are fine 
specimens of early-Gothic workmanship. Those on the central portal 
represent the Last Judgment; the noble modern figure of Christ on 
the pillar in the middle is by G. Dechaume. In the pediment-group 
(Christ in Glory) the angel on the left holding the nails is a master- 
piece of French sculpture of the 13th century. The portal on the 
right (S.) is dedicated to St. Anne, and that on the left (N.), by 
which the church is generally entered, to the Virgin, both being 
adorned with appropriate sculptures. The relief representing the 
burial of the Yirgin is noteworthy. The fine iron-work of the doors 
should also be observed. This story is connected with the one 
above it by a gallery with a series of niches containing statues of 
twenty-eight kings of Israel and Judah, who were also reputed to 
be kings of France. These were destroyed during the Revolution and 
re-executed in the 19th century. Above the gallery, in the centre, 
rises a statue of the Yirgin, with two angels bearing lights, to the 
right and left of which are figures of Adam and Eve. — The centre 
of the second story is occupied by a large rose-window, 42 ft. in 
diameter, with the simple tracery of the early-Gothic style. At the 
sides are double pointed windows. — The third story is a gallery 
composed of pointed arches in pairs, about 26 ft. in height, borne 
by very slender columns, each double arch being crowned with an 
open trefoil. Above this gallery runs a balustrade, surmounted with 
figures of monsters and animals (see p. 268); and the facade then 
terminates in two uncompleted square towers, each pierced with 
a pair of pointed windows, about 52 ft. in height. — The lateral 
portals also deserve inspection. The spire above the cross, 148 ft. 
in height and constructed of wood covered with lead, was erected 
in 1859. The exterior of the choir has a charmingly light and 
elegant effect, with its bold flying buttresses and windows sur- 
mounted by pediments. (Adjoining fountain, see p. 268.) 

Interior. — The church, which consists of a nave and double 
aisles, crossed by a single, short transept, is 139 yds. long and 52 yds. 
broad. The double aisles are continued round the choir, affording 
the earliest example of this construction. The choir is semicircular 
in form, as in most early-Gothic churches. The chapels introduced 
into the spaces between the buttresses of the aisles and choir are in 
a late-Gothic style. The vaulting, 110 ft. high in the nave, is borne 
by 75 pillars, most of which, unlike those in other Gothic build- 
ings, are round. Above the inner aisles runs a triforium borne by 
108 small columns, and the clerestory is pierced with 37 large 



NOTRE-DAME. Cite 15. 267 

windows. The ancient stained glass of the roses over the principal 
and lateral portals is worthy of inspection. The pulpit, a master- 
piece of modern wood- carving, was designed "by Viollet-le-Duc 
(1868). To the right of the S. portal are two black marble slabs in 
memory of 75 victims of the Commune (p. 251). 

The Choir and Sanctuary are separated from the nave and am- 
bulatory by very handsome railings. By a pier to the right of the en- 
trance is a mediaeval statue of the Yirgin (1st half of the 15th cent.), 
the real 'Notre Dame de Paris', held in high veneration by the 
faithful. The choir-stalls and the reliefs in wood (early 17th cent.), 
chiefly representing scenes from the history of Christ and the Yirgin, 
should he noticed. In the sanctuary are a modern high-altar (1874), 
a Pieta in marble (known as the Vow of Louis XIII), and statues 
of Louis XIII and Louis XIV, by IV. and G. Coustou and Coyzevox. 

The choir -screen is adorned with twenty-three richly coloured 
and partly gilded *Reliefs in stone, representing scenes from the. 
life of Christ, by Jehan Ravy and his nephew Jehan le Bouteillier, 
executed in 1319-51. These are notable achievements of Gothic 
sculpture, varying somewhat in the execution, but all marked by 
monumental dignity, calm, and beauty. 

The choir-chapels contain a number of monuments, chiefly of former 
archbishops of Paris. Beginning at the sacristy (see below): Archb. Affre 
(d. 1849; see p. 181), by Debay; Archb. Sibour (d. 1757; see p. 237), by Du- 
bois; *Comte d'Harcourt (d. 1718), by A. Pigalle; Archb. Darboy (d. 1871; see 
p. 251), by Bonnassieux; Cardinal Morlot (d. 1863), by Lescornel; Bishop 
Matiffas de Bucy (d. 1304), with a fine crozier, behind the high- altar; Card- 
inal de Belloy (d. 1806), a group in marble by Deseine; Archb. de Qjuilen (d. 
1839), by G. Dechaume; Cardinal de Noailles (d. 1729), by the same; Archb. 
de Juigni (d. 18U), by Cartellier; Archb. de Beaumont (d. 1781); monument 
of Marshal Guibriant (d. 1643), and his wife Rente du Bec-Cre'pin. 

The Organ, built in 1750 and enlarged by A. Cavaille-Coll in 1868, 
has 6000 pipes, 110 registers, and 5 key-boards. 

The Transepts contain frescoes : on the right, scenes from the life 
of the Virgin, apostles and fathers of the Church ; on the left, bishops 
of Paris, with monks, by Perrodin (1869-70). 

The Sacristy, which contains the Treasury, is open on week-days 10.30 
to 4 or 5 (apply to the sacristan on the right of the ambulatory). It was 
erected in 1843-50 by Viollet-le-Duc and consists of two rooms, at the end 
of the gallery and on the left, which occupy the site of the old archbishop's 
residence pulled down in 1830. A sacristan shows and explains the various 
objects, with the usual unsatisfactory haste of such guides. Most of the 
objects are modern and, with the exception of a few of the more recent 
acquisitions, of little artistic value. The communion vessels, in the medi- 
aeval style, presented by Napoleon III., are noteworthy. The ancient objects 
include a large Greek cross, enamelled (12th or 13th cent.), silver busts of 
SS. Denis and Louis (14th cent.), a Greek chalice of the same period; 
German chalice of the 15th cent. ; chasubles of the 15-16th, amphora? of 
the 16th, and reliquaries of the 13-16th cent., the most interesting being 
that containing the sacred relics (Crown of Thorns, Nail from the Cross, 
and Fragment of the True Cross; see p. 263). — Among the objects of 
historical interest are the coronation robes of Napoleon I. and the blood- 
stained clothes of the archbishops Affre, Sibour, and Darboy. 

Towers. The *View from the towers of Notre-Dame (223 ft. in height), 
is one of the finest in the city. The entrance to the towers is outside the 



268 Cite 15. ILE ST. LOUIS. 

church, by the N. tower, to the left of the portals. The ascent may be made 
from 9 to 4 or 5. The platform on the summit is reached by 397 steps (256 to 
the first gallery). In the S. tower hangs the great Bourdon de Notre-Dame, 
one of the largest bells in existence, weighing 12V2tons; the clapper alone 
weighs nearly half-a-ton. Another bell here (not used) was brought from 
Sebastopol. The quaint and skilfully-executed Gargoyles (hobgoblins, chi- 
meras, etc.) along the balustrades of the towers should be noticed. 

In the square at the hack of the cathedral rises the tasteful Gothic 
Fontaine Notre-Dame, designed by Yigoureux (1845), and a marble 
Bust of Goldoni (1707-1793), the Italian comic poet, by Tortini 
(1907). A good view of the choir of the cathedral (p. 266) is obtained 
from this point. 

At the S.E. end of the He de la Cite*, not far from the fountain 
just described, stands the Morgue (closed to the public), a small 
building re-erected in 1864, where the bodies of unknown persons 
who have perished in the river or otherwise are exposed to view for 
identification. They are placed in a refrigerator and frozen at a tem- 
perature of 5-7° Fahr. before being laid on the marble slabs in the 
'salle d'exposition', which is kept at a temp, of 25° and is shut off 
from the public by a glass partition. In this congealed condition they 
may be kept, if necessary, for three months. The bodies brought here 
number 700-800 annually. 



The He St. Louis (PI. R, 22; V), an island above that of the 
Cite, with which it is connected by means of the Pont St. Louis, a 
few paces to the N. of the Morgue, has an old-world aspect contrast- 
ing strangely with the busy life around. 

The Church of St. Louts-en-lTle, on the right of the principal 
street, was begun in 1679 and completed in 1725. It possesses an 
interesting pierced tower. 

In the interior are some modern and a few old paintings; two of the 
latter are in the 2nd chapel to the right of the high-altar (over the altar 
itself, a curious portrait of St. Francesco de Paola) and two (of 1604) in the 
4th chapel. In the wall of this chapel (on the right) is the sacrificial stone 
upon which Pius VII. officiated when he was a prisoner at Fontainebleau 
(1812-14). Farther on is a pretty 'benitier'' from the Carmelite convent of 
Chaillot, a souvenir of Soeur Louise de la Misericorde (Louise de La Val- 
liere; 1675). In the Chap, des Fonts, Baptism of Christ, by Stella (Van 
den Star). The Treasury, which contains an antependium (26 pieces of 
embroidery) of the 13th cent., may be inspected on the Frid. , Sat., and 
Sun. following Aug. 25th (festival of St. Louis). There are also some small 
reliefs in alabaster of the 15th century. 

To the E. of the church, on the Quai d'Anjou (No. 17; tablet), is 
the old Hotel Lauzun (^1657), formerly occupied by the poets Theo- 
phile Gautier (18-1172) and Baudelaire (1821-67), lately thoroughly 
restored by its proprietor, the Baron Claremont-Pichon (visitors 
admitted on application). — The Rue des Deux-Ponts connects the 
Quai d'Anjou with the Quai d J Orleans (PL R, 22 ; V), where, at No. 6, 
in an old house with a carved doorway, the Bibliotheque Polonaise is 
situated. The library (public reading-room on the 2nd floor open 11-4) 
was founded in 1830, and has been supplemented by a small museum 



HOTEL LAMBERT. Cite 15. 269 

with a collection of relics of Adam Mickiewicz (1798-1855), the Polish 
poet, who was professor of Slavonic literature at the College de France 
from 1840 to 1844. A tahlet at No. 12 in this quay, at the corner of 
the Rue de Bude, marks the hirthplace of Felix Arvers (1806-1850), 
the poet, whom a single sonnet made famous. 

In the Rue St. Louis (No. 2) stands the handsome Hotel Lam- 
bert, built in the 17th cent, by Levau for Lambert de Thorigny, 
and now belonging (since 1832) to the Princes Czartoryski. 

In the absence of the family visitors are admitted (preferably 10-11 a.m.) 
on application by letter to M. le Secretaire de THotel Lambert. The splendid 
staircase is adorned with Gobelins tapestry. The round vestibule is panelled 
with paintings in monochrome by Le Sueur. — Galerie d'Hercule: Marriage 
of Hercules and Hebe , by Le Brun (ceiling) ; landscapes on the wall-panels 
by Fr. Perrier and paintings in grisaille by Le Sueur. — Small room: 
Aurora, by Le Brun; two reliefs by Donatello; old reliquary of carved 
ivory, etc. — Study: Three charminer Watteaus; grisailles by Le Sueur; 
Credo , by Frirniet. — The ceiling of the bedroom (formerly the Salle des 
Mu=es) is painted by Le Brun and contains a bed in the Henri H style. — 
Voltaire was once a tenant of the Hotel Lambert, then belonging to the 
Marquise du Cbatelet-Lomont. 

The Boulevard Henri IV (p. 182) runs past the house , and to 
the right is the Pont Sully (p. 182) which crosses to the Boul. St. 
Germain (p. 300) on the left bank, close to the Halle aux Yins and 
near the Jardin des Plantes (p. 327). 

16. Q,u artier Latin. 

Metkopolitain (Line 4; see Appx., p. 33). — Restaurants, see p. 21. 

The quarter on the left bank of the Seine, to the S. of the Cite, 
which comprises the 5th Arrondissement (Pantheon) and the E. por- 
tion of the 6th (Luxembourg), is well known by the name of the 
Quaktier Latin. It and the Cite together form the oldest part of 
the town. From time immemorial learned societies have had their 
headquarters here, and the 'Quartier' long enjoyed the comprehensive 
title of 'L'Universite' (see p. 259). 

As we approach it from the Cite" by the Boul. du Palais we cross 
the narrower arm of the Seine by the Pont St. Michel (PI. R, 20, 19 ; 
F), which commands a fine view of Notre-Dame, on the left. On 
the same side, below the Quai St. Michel, is a station of the 
Orle'ans line (p. 32). The bridge ends at the Place St. Michel, 
where, on the right, we observe the Fontaine St. Michel, a fountain 
85 ft. high and 49 ft. in width, erected in 1860 from designs by 
Davioud. The monument, which stands against a house, consists 
of a triumphal arch in the Renaissance style, containing a group of 
St. Michael and the dragon in bronze, by Buret, placed on an artifi- 
cial rock, from which the water falls into three basins flanked with 
griffins. At the sides are columns of red marble bearing allegorical 
bronze figures. 

The Boulevard St. Michel (PI. R, G, 19; V) is the main artery 
on the left bank, and continues the great trunk-line of boulevards 



270 Left Bank 16. BOULEVARD ST. MICHEL. Quartier 

that intersects Paris from the Gare de TEst to the Carrefour de l'Ob- 
servatoire (p. 334). Its numerous cafes and restaurants are much 
frequented by students. 

The ancient Rue de la Huchette (13th cent.), and the Rue St. Siverin 
(PI. R, 19; F), beginning to the E. of the Place and Boulevard St. Michel, 
penetrate one of the dirtiest and most intricate, but at the same time most 
interesting and best preserved quarters of old Paris. Off the former of 
these streets open the quaint Ruelles du Chat-qui-Peche (so named from 
an ancient shop-sign) and Zacharie. — In the Rue St. Severin lies the 
interesting church of *St. Severin (PI. R, 19; F), dating mainly from the 
loth and 16th cent., and partly occupying the site of an oratory of the 
period of Childebert I. It consists of a nave and double aisles Hanked 
with chapels, and without a transept. The facade is now composed of a 
portal of the loth cent., brought from a church in the Cite which was 
taken down in 1837, with a handsome tower of the 14th cent, rising 
above it. By the N. door are two lions, standing between which the priests 
of St. Severin used to adminster justice. The second aisle on the right 
dates from the 14th cent., the remainder from the 15th. The spacious nave 
has 15 windows; the staiued glass of those in the upper row dates from the 
15th and 16th cent., that in the other windows and in the chapels is modern. 
The double ambulatory has interesting groined vaulting and above the choir 
is a curious triforiuui. The modern mural paintings in the chapels are by 
Ileim, Signol, Sch>ut2, Hippolyte Flandrin, Hesse, and others. The chapels 
at the end contain votive sculptures and paintings. 

A little farther on, near the Rue Lagrange, is the ancient church of 
St. Julien-le-Pauvre (PI. R, 19, 22; F)/the chapel of the former Hotel- 
Dieu. It is an unassuming ediiice in the Gothic style of the 12th cent., 
without portal or tower, but the choir and side-apses are interesting. It is 
now occupied as a Greek church; services on Sun. and festivals at 10 a.m. 
In the right aisle, by the wall, is a tomb with sculptured reliefs of the 
15th century. The adjoining court contains a fragment of the rampart 
built by Philippe Auguste (apply to the sacristan). In the left aisle is a 
statue of Montyon (1733-182U), the well-known philanthropist. The en- 
trance is at No. 11 in the Rue St. Julien-le-Pauvre, through a narrow 
and dirty court. To the right of the door is an old well (closed). 

At the back of the church runs the Rue du Fouarre (i.e. l of the straw' 
on which the students sat). In the 13th cent, this quarter was largely 
occupied by schools, and is mentioned by Dante under the name of 'Vico 
degli Strami 1 (Paradise, X, 137). The Rue du Dante leads thence to the Rue 
St. Jacques (PI. R, 19 ; V), where, at No. 72, on a tablet in the wall is a 
plan of the old Porte St. Jacques which belonged to Philippe Auguste's 
fortified enclosure. For the remainder of this street, see p. 330. — The 
Rue St. Julien-le-Pauvre ends at the Rue de la Bilcherie, containing, at 
the coiner of the Rue de THotel - Colbert, a building in the shape of a 
rotunda; this was used as a lecture-room by the faculty of medicine from 
1183 to 1775, and under the Empire as a school of anatomy; a students' 
residence is to be built here. 

The Boul. St. Michel crosses the Boulevard St. Germain (p. 300), 
at a point about 330 yds. from the Seine. This is one of the busiest 
spots in Paris. On the left are the gardens in front of the Thermes 
(p. 280) and the Hotel de Cluny (p. '270). The Boul. St. Michel then 
skirts the Place de la Sorbonne (p. 282), passes the E. entrance of 
the Luxembourg garden (p. 323), and ends at the Oarrefonr de 
rObservatoire (p. 334). 

About 100 yds. from the Boul. St. Michel, in the Boul. St. Ger- 
main, is the Ecole de Medecine (PI. R, 19; 7), a huge block of 
buildings stretching on the S. to the Rue de l'Ecole-de-Me'decine. 
The modern facade (1878) towards the boulevard, by Qinain, is in 



Latin. ECOLE DE MEDECINE. Left Bank 16. 271 

tlie same severely plain style as the facades of the Palais de Justice 
in the Place Dauphine and the Hotel des Postes. The two caryatides, 
by Crauk, represent Medicine and Surgery. The old part of the build- 
ing, in the Rue de l'Ecole-de-Me'decine, dates from the 18th cent., 
and possesses a handsome court flanked with an Ionic colonnade, at 
the end of which rises a bronze statue of Bichat, the anatomist 
(1771-1802), designed by David d'Angers. In the vestibule is a 
group by Barrias, Science unveiling Nature. In the gallery next to 
the Boul. St. Germain: Hippocrates and Hygieia, by J. Thomas. The 
1st Salle des Theses contains a large painting, by Richet, of the foyer 
of the Theatre Francais as a hospital (1870-71). In the Vestiaire at 
the E. end: Hippocrates refusing the gifts of Artaxerxes, by Girodet 
(apply to the concierge on the right, Place de l'Ecole-de-Medecine). 

The collections are only open to medical men provided with a permit 
from the secretary. — In the main building are the Large Amphitheatre 
(1400 seats); the Library (ca. 90,000 vols.), which is open to students and 
medical men daily, except on Sundays, holidays, and in vacation (1st 
Aug. -15th Oct.), 11-6 and 7.30-10.30 o'clock; and a Museum of Comparative, 
Anatomy, named Music Orfila after its celebrated founder (1787-1853). 

In the open space to the W. of the Ecole de Medecine are bronze 
statues of P. Broca (1824-1830), surgeon and anthropologist, by P. Choppin, 
and of B anion (1759-1794) as 'organiser of the national defence 1 , by A. Paris. 

On the opposite side of the street is a large new addition, con- 
taining the Ecole Pratique or laboratories. Adjacent, to the left, is 
the former refectory of an old Franciscan monastery (15th cent.; 
visible from the court of No. 7), where the revolutionary 'Club des 
Cordeliers' held its meetings, now occupied by the Musee Dupuytren, 
a pathological collection, and, on the fourth floor, by the Musee Broca 
(anthropology). 

The fine 17th cent, house at No. 5, Rue de.l'Ecole-de-Me'decirie, once 
the Amphitheatre de St. Come (1694), is now the Ecole des Arts Dicoratifs. 

At the corner of the ancient Rue Serpente and the modern Rue Danton, 
the latter beginning near the Fontaine St. Michel, is the HCtel des SocUUs 
Savantes, where meetings of learned bodies are held. The Rue Hautefeuille, 
to the right of the Rue Serpente, contains, at No. 5, the HCtel des Abbe's de 
F4camp, with a graceful turret surmounting the corner of the Impasse Haute- 
feuille, and at No. 9 a 15th cent, house with battlements and three turrets, 
built, it is said, by the Carthusian monks. — In the Rue St. Andr^-des- 
Arts, to the left of the Rue Hautefeuille, beyond the Pla.e, No. 49 (tablet, 
high up), is the site of Jeanne de Navarre's mansion, afterwards occupied 
by Jacques Coitier, physician to Louis XI and the dukes of Orleans; at 
No. 61 is the lane called the Cour du Commerce, in which (Nos. 4 & 8) Marat's 
newspaper 'L'Ami du Peuple' was printed (1793). Opening oif this lane, 
at No. bbis, on the left, is the Cour de Rouen, called de Rohan, a de'pendance 
of the palace of the Archbishops of Rouen (15th cent.), where Henri II 
built a house for Diane de Poitiers. Near the beginning of this 'cour'' is 
the ba^e of a tower, forming part of the ramparts of Philippe Auguste, and 
farther on, on the rigLt, is a curious well called the Puits de Coitier (see 
above; apply to the concierge). We emerge from the Cour du Commerce 
at No. 130 Boul. St. Germain. 



The *H6tel de Cluny (PI. R, 19 ; 7), to the S.E. of the inter- 
section of the Boulevards St. Michel and St. Germain, occupies part 
of the site of a Roman palace supposed to have been founded by the 



272 Left Banlc 16. MUSEE DE CLUNY. Ground Floor. 

Emperor Constantius Clilorus, who resided in Gaul from 292 to 300. 
Julian was proclaimed emperor by his soldiers here in 3b0 ; and this 
was the residence of the early Frankish monarchs until they trans- 
ferred their seat to the Cite (p. 259). The only relics of the palace 
still existing are the ruins of the Thermes, or baths once connected 
with it (p °80) About 133 1 it came into possession of the Benedictine 
tt)bey of Cluny (near Macon, in Burgundy), and the abbots built 
themselves a residence on its ruins. The present Hotel de Cluny, a. 
remarkably line specimen of the late-Gothic style, in which the 
Renaissance influence is apparent, was built by Abbot Jacques 
d'Amboise in 1490 and retains its original appearance almost un- 
altered James V. of Scotland and Marie d'Augleterre, the third wife 
of Louis XII (known as 'La Heine Blanche'), occupied it at different 
times Under the Revolution it was declared to be 'national property , 
and in 1833 was acquired by the archaeologist Al. du Sommerard 
in order to accommodate his valuable collection of mediaeval and 
Renaissance works of art. On his death (1842) the edifice and collec- 
tions were purchased by government and united with the Thermes, 
the latter being presented by the municipality of Paris. 

The *Musee de Cluny comprises a most valuable collection of 
medieval objects of art and products of industry. As there are 
upwards of 11,000 objects, a single visit will hardly afford an idea 
of even the most important. The museum is now in process ot 
reorganization, and changes in the arrangement of the exhibits are 
frequent. Director, M. Ed. Haraucourt. 

Admission. The Musee de Cluny et des Thermes is open to the public 
every day except Mon. and certain holidays (p. 64), from 11 to 4 on bun 
and holidays, 11 to 5 on week-days in summer (April ist-Sept 30th) and 
from 11 to 4 in winter. Catalogue (18S3) 4 fr., in boards 5 fr. New 
catalo-ue in preparation. — Explanatory labels are attacbed to nearly all 
SeeSil^ffaSWbreU^mnst'begiven up (no fee). Photographs 
of the finest exhibits are on sale in the first room. 

The entrance is at No. 24 Rue du Sommerard, adjoining the 
square of the Sorbonne (p. 280). The court is enclosed by a battle- 
mented wall. We enter by a large gate or by a vaulted postern, both 
adorned with tasteful sculpture. The main building and projecting 
mugs have Gothic windows with stone mullions, a tasteful cornice, 
an open-work parapet, and graceful dormer-windows. In the middle 
of the facade rises a short and massive tower. The left wing has 
four large Gothic arcades. In the right wing is the entrance to the 
garden (p. 280). The door of the museum is at the right corner ot 
the main building. 

Ground Floor, i". Room. Various sculptures; panels and chests 
of different dates; Flemish tapestry; weights and measures; mortars; 
epitaphs, etc — In the small room on the right is a valuable collec- 
tion of ancient shoes, wood-carvings, aiiu tapestry. 

II. Boom (to the left of JR. 1), with a stone chimney piece adorn- 
ed with high -reliefs dating from 1562: Christ aud the Samaiitau 



Ground Floor. MUSEE DE CLUNY. Left Bank 16. 273 

woman, by Hugues Lallement. New acquisitions are temporarily 
placed here. Opposite the entrance, Virgin (Vierge de Moussac). 
Behind, small objects belonging to the Wasset and Dru Collections. 
By the window on the right: Ivory carvings (14-18th cent.) ; objects 
found during the excavations at Antinoe (see p. 229). By the 
■window on the left: Facing-slabs (Spanish, 16th cent.); Gallo-Roman 
antiquities. Left wall: Madonna (French, 16th cent). In the 
centre: Embroidered alb. Then, moulds for consecrated wafers 
(13-15th & 16-17th cent,). Fine caskets and chests presented by 
Baron Arthur de Rothschild. At the end, to the right and left: St. 
Barbara (French, 16th cent.) and a Madonna (French, 14th cent.). 
By the second window on the right: Coptic hair-nets from Antinoe 
(see above). 

III. Room. Entrance-wall : *709. Large carved altar-piece in 
gilded and painted wood, of the end of the 15th cent. 5 to the right, 
*712. Flemish altar-piece of carved wood, painted and gilded 
(15th cent.); to the left, 816, 788. Holy Women and Mater Dolorosa 
(16th cent.). By the windows on both sides: leaden objects found 
in the Seine at Paris (14-16th cent.). On the other wall: no number, 
*Altar-piece with the Passion, larger than and as fine as that 
opposite (No. 709); to the right, 715. Calvary, triptych in carved 
wood (16th cent.); to the left, *710. Large German triptych in 
carved wood, painted and gilded, of the end of the 15th cent., 
upon a French credence of the 15- 16th centuries. Several fine 
Gothic cabinets. — In the centre, on a separate screen, is part of the 
Rothschild Bequest (see p. 157). Window-side, on the left, two 
panels by M. Wohlgemuth (1480) ; centre, alabaster reliefs in a carved 
wood frame adorned with lapis lazuli (16th cent.), representing the 
Resurrection and the Descent into Hell. Below, under glass, Christ 
at the Mount of Olives (Hispano - Flemish , 16th cent.); German 
medal (1549); forms of prayer in miniature (Italian, 1541). On 
the right, Adoration of the Magi, by Lucas van Ley den or Luca 
d'Olanda (?; 1523). Above, pewter dish depicting the Resurrection 
(German, 16th cent.). GaTden-side, in the centre, large hymnal (Ger., 
15th cent.). Below, beautiful incrusted staff of Cardinal Montelparo 
(Ital., end of 16th cent.). Left, St. James ('El Matamoro'; end of 
15th cent.). Below, Virgin and Child, in slate (Ger., end of 15th 
cent.), and an Italian miniature (Invocation to all the saints ; 60 sub- 
jects; 16th cent.). Right, Assumption (Spanish, late 16th cent.). 
Below, lock of a chest (French, 15th cent.) ; Annunciation (German, 
late 15th cent.). Centre, above the hymnal, St. Dominic and St. 
Catharine receiving the rosary (Ital., late 16th cent.). 

IV. Boom. Furniture of the 16th and 17th centuries. Medals and 
counters relating to the history of France and Paris ; in the glass- 
cases, plaquettes (including one of the Bacchanalia , after Clodion, 
at the 2nd window) and medals of the 15 -18th centuries. The 
chimneypiece (192), with a bas-relief representing Actaeon changed 

Baedeker. Paris. 16th Edit. 18 



274 Left Bank 16. MUSEE DE CLUNY. Ground Floor. 

into a stag, by Hugues LaUement, dates from the 16th century. In 
the centre, 1422. German dresser (end of 15th cent.). On the right, 
Flemish tapestry (Temple of the Sibyl; 17th cent.). At the end, 
Brussels tapestry (Adoration of the Magi; 16th cent.); to the right 
and left, St. Anthony and St. Barbara (statues of the 15th cent.). 
Beautiful furniture. 

V. Boom (to the right of R. IV). Collection Audeoud, consisting 
of Italian and Spanish works of art of the 17th and 18th centuries. 
We first notice an Adoration of the Magi (from a Presepe or Crib; 
Neapolitan). Then a large glass-case containing painted statuettes 
and groups of the Massacre of the Innocents and the Last Supper, 
etc. At the back, richly sculptured and gilt tabernacle, a Spanish 
work (17th cent.). Beautiful carved, inlaid, and painted furniture. 
Portions of a Spanish bed ; leathern hangings, etc. 

Corridor. Richly framed mirrors; Italian paintings (14 -16th 
cent.); panels from a large Spanish altar-piece of the 15th cent.; 
another altar-piece of the same date and provenience. 

VI. Boom (on the right), with a door opening upon the Thermes 
(p. 280), and, like the following room, surrounded with a gallery, 
which is accessible from the first floor only. Sculptures, espe- 
cially religious statues, bas-reliefs, and ornaments, some in wood. 
Above the entrance, 1664. Legend of tbe Yirgin, an altar-frontal 
(English, 14th cent.). From right to left: under glass, statuettes 
and bas-reliefs in wood (16-17th cent.). Several figures of the Ma- 
donna (14-15th cent.). — On the long wall: no number (under 
glass), St. Louis (French, 13th cent.); 705. Railing from a church 
at Augerolles (Puy-de-D6me ; 16th cent.) ; behind, Yirgin and Child 
from Auvergne (12th cent.). — In the glass-cases to the right of 
the door to the Thermes (left wall): enamels ; wooden statuettes of 
the kings of France (17th cent.). On a cabinet, leaves of an illu- 
minated MS. (German, 12th cent.). In front, St. John the Baptist 
in the desert (Ital., 15th cent.). Above the door, Annunciation 
(French, 15th cent.). Above a 14th cent, altar, Flemish tapestry 
(Apparition of the Yirgin ; 16th cent.). — To the left of the entrance : 
mosaics from St. Denis (12th cent.) and Florence (15th cent. ; 4763. 
Madonna, by D. Ghirlandaio?). — In the centre, under glass : combs, 
knife-sheaths, crosses, etc. (15 -16th cent.); nut-crackers (15-17th 
cent.); tobacco-graters (17th cent.), etc. On a cabinet : four *Sta- 
tuettes of mourners from the tomb of Philippe le Hardi at Dijon, 
by Claus de Werwe (1412) from designs by Claus /Stfwfer (1404); 
Yirgin and Child (Burgundian School, 15th cent.). Reliquaries 
(15-17th cent.). In front, no number, Notre - Dame -des-Ardents 
(French, 15th cent.). To the right of the reliquaries, under glass: 
miniatures, medallions in wax, portraits (Clement Marot, Francis I., 
Catherine de Medicis , etc.; 16th cent.); to the left, MSS. with 
miniatures, portraits (16th cent.; 1817. Christopher Columbus, no 
number, B. Palissy). Farther on, to the left, Angel of the Annun- 



Ground Floor. MUSEE DE CLUNY. Left Bank 16. 275 

ciation (Ital., 15th cent.); to the right, Virgin at Calvary (poly- 
chrome; 16th cent.). — By the columns: opposite the entrance, 
Infant Jesus in the act of benediction, by Duquesnoy (17th cent.); 
below, Madonna (14th cent.); on the right, Madonna (French, 14th 
cent.), and 744. St. Catharine (15th cent.); on the left, Saint (German, 
16th cent.), Madonna (German, 16th cent.). — At the four corners: 
Apostles from the Sainte Chapelle (p. 262; 13th cent.). — To the 
right of the entrance: moulds for pastry (16-18th cent.); engraved 
plates for a pack of cards (17th cent.). 

VII. Room, to the left of the corridor, opposite R. VI, also with a 
gallery above. On the walls are three admirable pieces of *Flemish 
tapestry, of the beginning of the 16th cent., belonging to a series of 
ten pieces, representing the history of David and Bathsheba. In the 
glass-cases, *Ecclesiastical ornaments, lace, antique stuffs, clothes, 
head-dresses, etc. Around are sculptures: to the right of the 
entrance, Statuettes of Jacques Juliot of Troyes (16th cent.); farther 
on, 460. Flora, a caryatid (16th cent.); *448. Marble group of the 
Fates, attributed to 0. Pilon; 251. Madonna and Child (16th cent.). 
To the light of the door, 449. Ariadne deserted (16th cent.); 456. 
Sleep, 450. Venus and Cupid (French, 16th cent.). — On the other 
side of the doorway; 479. Entombment (end of the 16th cent.). 
Hanging from the ceiling, Venetian lantern (16th cent.). 

VIII. Room. Continuation of the tapestry, ecclesiastical orna- 
ments, stuffs, lace, etc. In a large case at the end, *Draperies, mantles, 
and collars of the Order of the Holy Ghost, founded by Henri III in 
1579. In the centre, *Lantem of a Venetian galley (16th cent.) ; two 
handsome monolithic columns (16th cent.) supporting two statues 
(15th cent.). To the right of the entrance are statuettes of the 15- 
16th cent.: 563. The abduction, after Giov. da Bologna; 564. Fame. 
To the left of the entrance: 487. Venus and Cupids (17th cent.); 
Madonna (Italian, 14th cent.); in a table-case, figures for applique- 
work (14th cent.). 

IX. Room. Sumptuous State Carriages of the 17th and 18th 
cent., sledges, rich trappings, sedan chairs, etc. 

First Floor. We return to the corridor between Rooms VI 
and VII and ascend a wooden staircase with the arms of Henri IV 
and Marie de Medicis, formerly in the Palais de Justice. 

In the Corridor are weapons and suits of armour. 

1st Room, to the left. French, Flemish, and Dutch Fayence, 
Stoneware, etc., of the 16 -18th centuries. 1st Glass Case, to the 
left: French fayence and glazed earthenware from Avignon, Beau- 
vais, Epernay, etc. 2nd Case (opposite): stoneware from Germany 
and Limburg. Beside it, two charming terracottas (satyrs) by Clo- 
dion (1783) and a bust of a child by Pigalle. 3rd Case: *Palissy 
and St. Porchaire (Oiron) fayence (16th cent.). 4th Case : specimens 
from Sceaux, Paris, Niederviller, Strassburg, Marseilles, *Moustiers 
(Provence), and Alcora (Spain). 5th Case: *Rouen. 6th Case: 

18* 



276 Left Bank 16. MUSEE DE CLUNY. First Floor. 

*Nevers. 7th Case (left): Dutch fayence (Delft). 8th Case (left) : 
German and English fayence. Tiles. The cases in the centre contain 
French fayence, those near the entrance, Saxon porcelain. 

2nd Boom, opposite, adjoining the staircase. Magnificent col- 
lection of * Italian Fayence of the 15-18th cent., classed according 
to schools, in eight large glass cases (ticketed). From right to left: 
Case I. Faenza; II. Cafaggiolo and *Deruta; III. *Deruta; IV. 
*Gub hio (with metallic lustre) and Castel Durante ; V-VII. Urbino ; 
VIII. Venice, Castello, and Castelli. — On the wall to the left of the 
entrance are *Medallions and bas-reliefs in painted terracotta by Luca 
delta Iiobbia and his school (15th cent.). 

3rd Room (to the right of R. 2). ^Tapestries of the 15th cent, 
from the Chateau de Boussac; those in the lower row are known as 
the 'tapestry of the lady and the unicorn'; those above represent 
the history of St. Stephen. Fine carved stone chimneypiece and 
ceiling from a house in Rouen (16th cent.). Handsome oaken doors. 
Old stained glass in the windows. Works in Gold, Silver, Glass, 
and Enamel (chiefly from Limoges), etc. 

Case to the left of the entrance: *K,eliquary of St. Anne, by Hans 
Greiff of Nuremberg (1472); above, reliquaries in the shape of heads, 
arms, and feet (French, 1516th cent.); vessels used as hand-warmers (13- 
16th cent.); censers (14th cent.); Virgin and Child (14th cent.); chalices 
(15th cent.); etc. — Case 1 (left), near the windows: *Ecclesiastical work 
in gold and silver, especially reliquaries, also bookcovers, crosses, croziers, 
etc., with champleve" enamels (Limoges; 12-14th cent.). — Case 2: *Limoges 
enamels (15th and early 16th cent.) by the Pinicauds: *4578. Calvary, by 
Nardon Pdnicaud (1503) ; 4576. Pieta, by Monvaerni, the earliest master 
known by name. — Case 3 : "Limoges enamels (16-17th cent.) : 4617-4630. 
Large oval medallions representing scenes from tbe Passion (1557); 4579 
(beside tbe window), Eleanor of Austria, wife of Francis I. ; portraits (at 
the side; no numbers) of the Duke and Duchess of Guise, all by L Sonar d 
Limosin; above, Cups, plates, and casket by Pierre Reymond, Jean Courteys, 
F. G. Mouret, etc. On the other side are works by Gouly Noylier. — Case 4: 
*4589. Reliquary of Catherine de Medicis (by Martin Didierf), and upwards 
of thirty smaller enamels, by Jean II and Jean III PSnicaud, J. & P. Cour- 
teys, J. Limosin, Gouly Noylier, Noylier II, Suzanne Court, etc. — Case 5 : 
*Enamels (about 100), mostly by P. Reymond: 4639-54. Sixteen scenes from 
the life of the Virgin and the Passion; others by P. Courteys, the Laudins, 
the Noyliers, etc. Above, 4610. Enamelled plate (Judgment of Paris), by 
L. Limosin; 4606. 'Plat de Moi'se 1 , by P. PSnicaud ; above, large plaques 
by M. JDidier; cups, salt-cellars, etc. 

At the end, to the left, is the collection of glass. In the case to the 
right, Venetian glass: 4779-4782. Plates (16th cent.; e'glomise's) , with 
paintings of Psyche and Proserpine, Delilah and Samson , Juno and Isis, 
Birth of Bacchus. In the cases at the end: French, German, and Dutch 
glass; to the left, 4763. Lamp from a mosque (13th cent.). Between these 
cases: Venetian marriage-chest (16th cent.); "German altar-piece in em- 
bossed copper (12th cent.). — On the wall, nine plaques of enamel on copper 
(5 ft. 6 in. x 3 ft. 4 in.), the largest enamels known ; they were ordered by 
Francis I. They represent divinities and allegorical subjects, by Pierre 
Courteys, and were brought from the old Chateau de Madrid in the Bois de 
Boulogne (p. 238). Beside the windows are articles of furniture; beside 
the doors are reliquaries (15-17th cent.) and religious objects belonging to 
the Wasset collection. 

4th Boom. *Hispano- Moorish Fayence with metallic glazing 
(14-17th cent.) and *Bhodian (Lindos) Fayence of the same period, 



First Floor. MUSEE DE CLUNY. Left Bank 16. 277 

made by Persian workmen; bronze vases; at the windows, Spanish 
chest (17th cent.). In the windows, old stained glass. 

5th Room. Objects illustrating the Jewish religion (the gift of 
Baroness Nathaniel de Eothschild) : furniture, goldsmith's work, 
jewels, MSS., embroideries. The chimneypiece dates from the 
15th century. 

6th Boom. Case 1 : Musical instruments, psaltery, mandolins, 
'kits' or pocket-violins used by dancing-masters, violin by Amati. 
Case 2 : Collection of caskets. By the wall : in the centre , 1455. 
Florentine cabinet, with costly mosaics (17th cent.); Flemish cabinet 
(16th cent.) ; three French cabinets (Louis XIII); 1449. Cabinet in 
French leather (17th cent.); *1477. Venetian cabinet of the 16th cent, 
representing the facade of a domed church , with incrustations, 
paintings, and statuettes. Near the windows, carved wardrobes of 
the 16th century. Under glass, Bindings of the 16-18th centuries. 

7th Boom. Flemish cabinets of the 17th cent. ; two ancient Chin- 
ese vases in cloisonne' enamel. The ceiling-painting was executed 
in the 17th century. 

8th Boom. State-bed of the time of Francis I. (16th cent.) ; to the 
right and left, 1425, 1426. French double wardrobes (16th cent.). 
To the right of the chimneypiece : 1424. Carved cabinet in walnut 
from Clairvaux Abbey, time of Henri II (16th cent.). Opposite 
the windows: 1431, 1432. Double wardrobes (16th cent;). — 
By the windows: Back of a judge's seat (French; 15th cent.); 
French double wardrobe (17th cent.); carved pillar (Spanish; 
16th cent.). 

9th Boom. Works in Ivory. — 1st Case, in the centre to the 
right: 1081. Italian triptych of the 14th cent., with scenes from 
the Gospels; to the left, 1058. Pastoral staff in boxwood and ivory 
(14th cent.); to the right, 1088. Fragment of a triptych of the 
14th cent. ; no number, Crozier from the abbey of St. Martin de 
Pontoise (French, 13th cent.). — 2nd Case on the right: 1034, 
1033. Fragments of pyxes; no number, *Plaque of a consular diptych 
(6th cent.); Byzantine casket- (9th cent.); 1035. Christ blessing the 
marriage of Emperor Otho II. of Germany and Theophano, 
daughter of the Greek emperor Romanus II. , in 973 ; bas-reliefs 
of the 7-12th centuries. — Large Central Case: 1052 (above), Re- 
liquary of St. Yved in ivory, 12th cent.; six Madonnas, 12th, 13th, 
14th, and 17th cent.; below, 1032. Ivory statuette found in a tomb 
on the Rhine (4th cent.) ; Venetian and French caskets (11 -13th cent.). 

— Second Large Case: 1060. Reliquary with 51 bas-reliefs of 
Scriptural subjects (15th cent.); in front, Fine crozier (12th cent.) ; 
beside it, Justice and Crime (16th cent.) ; caskets, chessmen, etc. 

— 1st Case to the left: "Wax medallions, carved plaques (Wasset 
Collection, p. 273). 2nd Case to the left: Entombment (bas-relief), 
powder-horns, etc. — On the side next the entrance, 1461, 1462. 
Carved ebony cabinets of the 17th cent, and portions of others of 



278 Left Bank 16. MUSEE DE CLUNY. First Floor. 

the same period (others opposite). Case between the cabinets: ivory 
horns (11 -16th cent.); statuettes in ivory; to the left, 1163. Figure 
resembling the Manneken Pis at Brussels and by the same artist, 
Duquesnoy (1619); bas-reliefs by Van Ojpstal (18th cent.). — First 
window towards the garden: tobacco -graters, knives, forks, and 
spoons with ivory handles, etc. (17th cent.). — Between the windows 
and by the backwall: 1458, 1457. Ebony cabinets (17th cent.). 
In the adjoining glass-cases : ivory statuettes, busts, medallions, 
and bas-reliefs of the 16-lSth centuries. — First glass-case on 
the right, next the court : plaques in ivory, some perforated and of 
great delicacy {e.g. 1177. Small diptych of the 16th cent., contain- 
ing 102 figures); on the right, partly gilt plaques from a coffer of 
the late 15th century. To the left, scene from the Passion, painted 
in green (15th cent.). — Second window: in the centre, no number, 
fine triptych in high- relief (14th cent.); 1082, 1063-66 (to the 
right), Scenes from the Passion and legends of martyrs (14th cent.) ; 
diptychs of the 14th and 15th cent. • to the left, 1085, 1069-73. 
Mirror-cases (14th cent.). 

10th Room. "Works in iron, locksmith's work, bronzes, etc. 

On a table to the right of the entrance: Joan of Arc, bronze statuette 
(15th cent.) ^ 6599. Girdle of chastity (Italian); lamps, caskets, etc. — 
Case 1, on the side next the court: Locks, knockers, etc. (15-17th cent.); 
iron coffer inlaid with gold and silver (17th cent.). — Case 2: Locks, flat 
bolts, etc. (14-lStk cent.). — Case 3: Keys. — Case 4: Tobacco-graters, 
damascened knives; 5003, above, Statuette of St. Catharine of Bologna (17th 
cent.). — 1409. Credence -table of the 16th century. — Case 5: Keys. — 
Case 6 (above): 5189-5192. Pewter ewers and basins, by Fr. Briot, and 
similar objects. — Case 7, on the side next the garden: Lock-plates, bolts, 
and knockers (16th cent.). — Case 8: Small plaques , cork-screws, pincers, 
etc. (17-lSth cent.). — Case 9. Clasps of pouches or purses. — On a cre- 
dence-table of the 16th cent. : 1271. Italian relief in iron of the Wise 
Virgins (16th cent.). — Case 10: 'Locks and ""Keys of the 16th cent. (2nd 
key to the right in the first row, No. 5962, made by Louis XVI). — 
Cases 11 & 12, to the right and left of the chimneypiece : statuettes and 
other bronzes. — Case 13, in front of the chimneypiece (16th cent.): 
iron coffers. To the right, by the wall, fine bronze serpents from a foun- 
tain at the Chateau de Villette (French, 17th cent.). — Case 14: Bronze 
knockers ; 6126. Penitential belt. At the sides of this case : bell-metal 
fonts (14th cent.); leaden baptismal basin (14th cent.); hinge-ornaments 
from Xotre-Dame; roasting-jack; lock; smoothing irons. Italian celestial 
globe (1502); 6054. Large and handsome chest in hammered iron (17th cent.). 
"Goldsmith's bench and tools , German work of 1565, inlaid and carved, 
the iron portions delicately engraved. Hanging from the roof, lantern of 
the 16th cent., with the arms of Lorraine. 

11th Room. ^Objects in the precious metals. By the first window, 
on the side next the garden : to the left, *5104. Ship in gilded and 
enamelled bronze, with movable figures of Enip. Charles V. (in gold) 
and his dignitaries (admirable 16th cent. work). — Glass Case 
by this window: 120 *Rings (16-19th cent.) from the Arthur de. 
Rothschild bequest. Ornaments (13-18th cent.); 6278. Portrait of 
Francis I. (16th cent.); German and French girdles (14- 17th cent.). 
— Between the windows: cups, salt-cellaTS, etc. — By the second 
window : Gallic torques and other objects, in massive gold ; 4990. 



First Floor. MUSEE DE CLUNY. Left Bank 16. 279 

Merovingian scabbard, mounted in gold with bronze guard; 4989. 
Merovingian military ornament, in gold (end of a scabbard). — 
Glass Case by the end-wall : French seals , with coats-of-arms 
(17-18th cent.). — *4988. Golden antependium presented by Emp. 
Henry II. (d. 1024) to the cathedral of Bale , with embossed 
reliefs (Christ, three archangels, and St. Benedict), probably exe- 
cuted by Lombard artists. The tapestry (16th cent.) also comes 
from Bale. 

Cases near the entrance. 1st Case: Small boxes and cases, etuis, 
snuff-boxes, etc. — 2nd Case: Salt-cellars; cruets. — Next case: 
Large collection of spoons, forks, knives, scissors, cases of instru- 
ments of various kinds, of the 16-17th centuries. — On the wall: 
Flemish tapestry of the 16th century. 

Central cabinet: *4979-87. Nine gold crowns, found at Guar- 
razar near Toledo in 1858 and 1860, the largest of which, inlaid 
with pearls, oriental sapphires, and other jewels, is said by the in- 
scription (probably added when the crown was converted into a 
votive offering) to have belonged to the Visigothic king Recceswind 
(649-72). — 1st Glass Case on the left, next the garden: *5005. 
Golden rose of Bale, presented by Pope Clement V. to the Prince- 
Bishop of Bale (14th cent.); 5042. Large double cross in gilded 
copper, forming a reliquary, richly decorated with filigree-work and 
jewels, a valuable Limoges work of the 13th cent. ; *5044. Proces- 
sional cross in silver, gilded, engraved, and enamelled, with statuettes 
at the ends representing the Virgin, St. John, St. Peter, Mary 
Magdalen, God the Father, and the symbols of the Evangelists, a 
very interesting Italian work of the 14th cent. ; 5043. Archiepiscopal 
cross in silver-gilt filigree, lavishly enriched with jewels, pearls, and 
antique cut gems, and containing eight small reliquaries (Limoges, 
13th cent.); other reliquaries and monstrances. — 2nd Glass Case on 
the left: *5299. Set of rock-crystal chessmen (German; 15th cent); 
above, 5296, 5297. Lions' heads in rock-crystal; 1040. Cover of a 
book of the Gospels, ivory with gold filigree (9-12th cent.); 5076. 
Silver clasp, gilded and enamelled, a German work of the 14th cent. ; 
no number, Coffer in silver-gilt filigree work, embellished with pearls 
and gems (German; 13th cent.); 5041. Double cross, in silver-gilt, 
adorned with precious stones, filigree work, and reliefs (13th cent.). 
— Below, *5103. Prize for crossbow-shooting, in silver-gilt, em- 
bossed and chased (German, late 15th cent.) ; 5078. Spurs of Francis I., 
adorned with salamanders, the king's emblem. 

In the opposite case, next the garden : Astrolabes, compasses, 
clocks of the 16-17th cent.; set of instruments of a German archi- 
tect of the 16th century. — Next case : French and German clocks 
and watches of the 16-17th centuries. By the window next the 
court: porcelain ; sweetmeat dishes; German snuff-box (18th cent.); 
mother-of-pearl with engravings. 

We xeturn to Room 8. On the right is the — 



280 Left Bank 16. THERMES. Quartier 

12th Room. State-bed (17th. cent.), from the Chateau d'Efflat 
(Puy-de-Donie). On the chimneypiece : 5385. Astronomical clock 
(English, 17th cent.); harps, mandolins, etc. On the left wall, 
5114. Mirror in a damascened frame (Florence ; 16th cent.). 

We next enter the rich Gothic *CHArEL, -which is borne by a 
pillar in the centre. To the left, large altar-piece from the abbey of 
Everborn near Liege (15th cent.). Opposite, official church -pew 
and two stalls, one bearing the arms of the Duke of Lorraine (French ; 
ca. 1480). On the site of the altar, in an apse projecting like an 
oriel, large wooden reliquary (15th cent.) and marble sculptures of 
the 14-16th centuries. By the central pillar, figure of the Madonna 
(15th cent.); large copper reading-desk; candelabrum of the 
14th century. At the end: Wooden doorway (15th cent.), whence 
a staircase descends to R. VI (p. 274), from which the Thermes are 
entered. 

The Thermes, or ruins of the baths once belonging to the an- 
cient palace of the emperors (p. 272), are on the side adjoining the 
Boulevard St. Michel. The fact that the largest hall, which was the 
Frigidarium, or chamber for cold baths, is 65 ft. in length, 37y 2 ft. 
in breadth, and 59 ft. in height, will serve to convey some idea 
of the imposing dimensions of the ancient Roman palace. Most of 
the antiquities to be seen here present but little interest. We learn 
from a inscription on a fragmentary Roman altar (No 2; to the right 
of the staircase), dedicated to Jupiter, that as far back as the time 
of Tiberius (d. A. P. 37) there existed a corporation of Parisian 
watermen (Nautae Parisiaci). To the left is a statue of the Emp. 
Julian (comp. p. 98, No. 1121). Opposite, in the lower paTt of the 
hall, originally occupied by the piscina or swimming-bath, is a 
mosaic of the Gallo- Roman period. At the side are tombstones of 
grand-masters of the Order of St. John. 

The Garden, or Square Cltmy , the only entrance to which is through 
the court of the Hotel, contains interesting mediaeval sculptures and 
architectural remains, including a large Romanesque portal from the 
Benedictine church at Argenteuil. Facing the Hotel de Cluny is a cast of 
the fine Madonna of the portal of Notre-Dame (p. 267). Against the Avail 
of the Thermes stands the whits marble high -altar from the cathedral of 
St. Pierre in Martinique, which was destroyed by the eruption of Mont 
Pelee in 1002. It dates from the ead of the 17th century. 

Opposite the Hotel de Oluny, on the other side of a small square, 
laid out in 1S99, containing a stone group by Tony Noel ('Pro Patria 
Morituri"), rise the new buildings of the Sorbonne. 

The *Sorbonne (PI. R, 19; V) was originally a kind of hostel 
founded by Robert de Sorbon, the confessor of St. Louis, in 1253, 
for the reception of poor students of theology and their teachers ; but 
it soon acquired such a high reputation that it became the centre 
of the scholastic theology, and its name came to be applied to the 
theological faculty itself. This establishment has exercised consider- 
able influence on Catholicism in France. While violently hostile to 
the Reformation, the Sorbonne was hardly less strongly opposed 



Latin. SORBONNE. Left Bank 16. 281 

to the Jesuits; and for a long period it rejected the authority of 
the 'Unigenitus' hull directed against the Jansenists (1713). It 
opposed the philosophers of the 18th cent, of whose "witticisms it 
was frequently the hutt, until it was abolished hy the Revolution. 
In 1808 the Sorhonne was made the seat of the 'Universite de 
France' (under which term the French included the authorities who 
superintend the education of the whole country), hut in 1896 it 
once more hecame the University of Paris, the various provincial 
Academies heing raised at the same time to the rank of independ- 
ent universities. There are about 130 class-instructors, 25 professors, 
and 170 fellows. The total number of students in the five faculties 
is nearly 12,000, including 3-400 women. The lectures are open to 
the public gratis. 

The Sorborme was erected in 1629 by Cardinal Richelieu for the 
theological faculty, but has been rebuilt and enlarged since 1885, 
from plans by Nenot. The edifice is a vast pile, 270 yds. long and 
110 yds. broad, and is now mainly devoted to the Faculties of 
Literature and Science (des Lettres et des Sciences). The two other 
faculties belonging to the university (jurisprudence and medicine) 
occupy separate buildings (pp. 283, 270). The Main Facade, in 
the Rue des Ecoles, facing the Hotel de Cluny, has two pediments 
(Science, by Mercie; Literature, by Chapu) and eight statues: 
Chemistry (to the left), by Injalbert; Natural History, by Carlier ; 
Physics, by Lefeuvre; Mathematics, by Suchetet; History, by Cor- 
donnier; Geography, by Marqueste ; Philosophy, byLongepied; and 
Archaeology, by Paris. 

The Vestibule contains statues of Homer, by Delaplanche, and Archi- 
medes, by Falguiere. In the centre are the principal entrance and the 
staircase to the galleries of the great amphitheatre. On the right, at the 
entrance to the Vestibule des Galeries des Lettres et des Sciences : 
Panoramas of Venice and the Place de la Concorde, by Ch. Poilpot (1802) ; 
in the gallery leading to the court are landscapes by the same artist. 
Opposite the church, J. J. Weerts, Decorative panel of the Fete du Lendit 
or Parchment Fair of St. Denis (15th cent.). Coue d'Honneur. Seated 
statues of Victor Hugo, by Htigues, and Pasteur, by Marqueste. Escalier 
de la Bibliotheque (on the left of the court) : Right, The Dream ; centre, 
Song of the Muses awakening the human soul; left, Silence, by Eochegrosse. 

The Upper Vestibule is adorned with mural paintings illustrating 
Literature, by Flameng (to the right of the principal door), and Science, 
by Chartran (to the left). Flameng's paintings represent: Founding of the 
Sorbonne; Abelard and his school; Jean Heysselin establishing the first 
printing-press at the Sorbonne; Etienne Dolet, Amyot, Ronsard, Marot, 
Rabelais, Ramus, La Boetie, Brantome, Budseus jL'Estoile, and Montaigne ; 
Richelieu laying the foundation of the Sorbonne churchy the Rector of 
the Sorbonne and Henri IV ; the great writers of the 17th cent. ; Rollin, 
principal of the College de Beauvais (at Paris) ; Quinet, Villemain, Guizot, 
Michelet, Cousin, and Renan. At the aide, a statue of the Republic, by 
Delhomme. Chartran's paintings, also beginning at the door, represent: 
Louis IX studying mathematics; Ambroise Pare tying arteries; B. Palissy 
teaching mineralogy; BufFon, De Jussieu, and Daubenton ; Pascal and Des- 
cartes; Lavoisier and Berthollet; Cuvier; Laennec, inventor of the stetho- 
scope; Arago. 

The Large Amphitheatre, which is shown sometimes on Thurs. 11-4 
(apply to the concierge, Rue des Ecoles 7), holds 8500 persons and is 



282 Left Bank 10. COLLEGE DE FRANCE. Qmttkt 

frequently the scene of meetings and public functions. The end of this 
hall is decorated with a large allegorical painting ( l *The Sacred Grove') by 
Puvis dc Charanncs, the masterpiece of the artist and one of the finest de- 
corative works of our time: in the middle is the Sorbonne, with the 
Historical Sciences on the left and the Exact Sciences on the right. The 
cupola is by Galla/id ; around it are six statues: Sorbon by Crauk, Richelieu 
by Lattson, Descartes by Coutan , Pascal by E. Barrias, Rollin by Chaplain, 
and Lavoisier by Dalou. — The adjoining rooms have paintings by Wmcier 
and Lerolle; the Salle des Actes, by Jobbi-Duval and Duez; the Salle du 
Comite, by Lhermitte and Roll; the rector's apartments, by Baph. Collin; 
the chemistry lecture-room, by Bernard. 

The Church of the Sorbonnb (1635-59), the only part of the 
original building that has been preserved, was begun by Card. 
Richelieu and is surmounted by a conspicuous dome. The principal 
facade, which is adorned with statues of doctors of the church, looks 
on to the Place de la Sorbonne, on the side of the Boul. St. Michel. 

In the interior, to the right of the entrance, is the tomb of the Due 
de Richelieu (d. 1822), minister of Louis XVIII. On the wall to the left 
of the nave is a painting by Weerts: 'Pour l'Humanite', pour la Patrie'. In 
the left transept, a large picture by N. A. Hesse: Robert de Sorbon (p. 2S0) 
presenting young students of theology to St. Louis ; also a Scourging of 
Christ, in marble, by the younger Raniey. The right transept contains the 
marble 'Tomb of Cardinal Richelieu (d. 1642), by Girardon (.1694), a work 
of admirable finish. The cardinal is represented in a semi -recumbent 
posture , supported by Religion , while Science sits by in an attitude of 
grief. Above it is Richelieu's hat. The large mural painting at the back, 
by Timbal, represents Theology, and contains the portraits of Robert de 
Sorbon, St. Bonaventura, Abe'lard, Dante, Bossuet, Pascal, and others. The 
spandrels of the dome are painted by Phil, de Champ aigne\ the mosaics 
represent the four Doctors of the Church. 

Opposite the church is the small Place de la Sorbonne, with a 
statue of Auguste Comte (179S-1857), the founder of Positivism; the 
bust and allegorical figures are by A. Injalbert (1902). Beyond, in 
the Boul. St. Michel, is the Lycee St. Louis, built by Bailly on the 
site of the College d'Harcourt, which was founded in 1280. 

Behind the Sorbonne, to the left, in the Rue des Ecoles, 
is the College de France (JP1. R, 19; V), founded by Francis I. in 
1530, entirely rebuilt in 1611, then destroyed, and reconstructed 
in 177S by Chalgrin. It was again restored and extended in 1831-42. 
From its beginning as a mere 'college', styled 'College des trois 
langues', it has expanded into a teaching centre with 42 professor- 
ships, and its curriculum embraces every branch of science. The 
lectures (free) are intended for the benefit of adult men and women, 
and are of a popular character. The college is not connected with 
the university, but is under the direct control of the minister of 
education. — A bronze statue of Claude Bernard (1813-78), 
the physiologist, by Guillaume, has been erected in front of the 
College. Adjacent, to the right, is a bronze statue of Dante (1265- 
1321), by Aube'. In the court on the side next the Rue St. Jacques 
is a statue of Budaeus (Budi; 1467-1540), one of the learned 
founders of the institution , by Max Bourgeois. The marble statue 
of Champollion (1790-1832), the Egyptologist, in the vestibule, is 
by Bartholdi. 



Latin. PANTHEON. Left Bank 10. 283 

We now ascend the old Rue St. Jacques , to the right of the 
College de France. On the right is the massive new pile of the Sor- 
honne, with the tower of its observatory ; on the left is the Lycee 
Louis-le- Grand (rehuilt in 1887-96), formerly the College de 
Clermont belonging to the Jesuits. Farther on, to the left, is 
the Ecole de Droit, or school of jurisprudence connected with the 
university , rebuilt in 1892-97 , and extending to the Place du 
Panthe*on. We then reach the wide and handsome Rue Soujtlot 
(PI. R, 19; V), which leads to the Jardin du Luxembourg (p. 323) 
and to the Panthe"on. At the end. of this street, on the left, is the 
E. facade of the Ecole de Droit, built by Soufflot in 1771 ; on the 
right the Mairie of the 5th Arrondissement (1849). In the Place du 
Panthe*on, opposite the Ecole de Droit, a Statue of Pierre CorntiLle 
(1600-84), by H. Allouard, with a figure of Tragedy on the pedestal, 
was erected in 1907. On the other side of the Pantheon, opposite 
the Mairie, is a fine bronze Statue of Jean Jacques Rousseau (1712- 
1778), by P. Berthet (1889). 

The *Pantheon (PL R, 19 ; V) stands on the highest ground 
(the 'Mont de Paris') in the quarters of the city on the left bank, 
occupying the site of the tomb of St. Genevieve (422-512), the patron 
saint of Paris. The chapel erected over her tomb was succeeded by 
a church, which was removed in the 18th century. The present 
edifice, designed in the classical style by Soufflot , was built in 
1764-90. The new church also was dedicated to St. Genevieve, but 
in 1791 the Convention resolved to convert it into a kind of memorial 
temple, which they named the 'PantheW, inscribing on it the words 
'Aux grands hommes la patrie reconnaissante\ Mirabeau was the 
first of the illustrious dead interred here (April 15th, 1791), then, on 
10th July in the same year, the remains of Voltaire were transferred 
hither. The building was restored to religious uses in 1806, but 
was again made a temple after the July Revolution in 1830. Once 
more consecrated in 1851, it was finally secularized in 1885 for the 
obsequies of Victor Hugo. 

The edifice is of most imposing dimensions, and its form is that 
of a Greek cross, 370 ft. long and 276 ft. wide, surmounted by a 
dome 272 ft. in height and over 75 ft. in diameter. The dome rests 
on a lofty cylinder or drum enclosed by an open Corinthian colon- 
nade , and is crowned with a lantern which is again capped by a 
small dome. The total height, to the top of the final cross, is 384 
feet. A huge colonnade consisting of twenty -two fluted Corin- 
thian columns , 81 ft. in height, resembling that of the Pantheon 
at Rome, forms the portico. The ^Tympanum, 118 ft. long and 
23 ft. high, was executed by David $ Angers (d. 1856), and repre- 
sents France, between Liberty and History, distributing wreaths to 
her sons, the latter forming animated groups on either side. 

In front of the portico is a large bronze figure of the Thinker, 
by Rodin (1906). — Under the portico are two groups in marble 



284 Left Bank 16. PANTHEON. Quartkr 

by Maindron: St. Genevieve imploring Attila, the leader of the 
Huns, to spare the city of Paris; and the Baptism of Clovis by 
St. Remigius. The three doors are of bronze. 

The Interior (open daily, except Monday, 10-5, in winter 10-4) 
is impressive. On each side of the aisles is a Corinthian colonnade, 
bearing a gallery, and having an elevated pavement (notice the steps, 
while examining the paintings). Over the centre of the edifice rises 
the dome, which, acoording to Soufflot's design, was to have rested 
on columns, but these proved too weak for the weight of the super- 
structure. J. Rondelet, who succeeded Soufflot in 1781, substituted 
piers, connected by massive arches, for the original columns, to the 
detriment, however, of the general effect produced by the nave. 
The dome consists of three sections, one above the other, the second 
of which is adorned with paintings by Gros (18'24), St. Genevieve 
receiving the homage of the kings of France : Clovis, Charlemagne, 
Louis the Debonair, and Louis XVIII; above, Louis XVI, Marie 
Antoinette, Louis XVII, and Princess Elizabeth, the 'martyrs' of the 
Revolution. The paintings in the spandrels, by Carvalho, after 
Gerard, represent Death, France, Justice, and Glory. 

The decoration of the Pantheon was entrusted to Paul ChenavaTd 
of Lyons in 1848, but his cartoons, now in the Lyons picture-gallery, 
were never executed owing to the reconsecration of the church. The 
mistake was then made of giving the commission to various artists 
of very diverse tendencies; and the natural result is a sad want of 
harmony in the general effect. 

On the wall of the nave, to the right, Preaching of St. Denis, by 
Galland; * Childhood of St. Geuevieve, by Pirn's de Chavannes 
(1877). On the left, Martyrdom of St. Denis, by Bonnat; Attila on 
the march to Paris, and St. Genevieve encouraging the Parisians 
during the approach of Attila, designed by Delaunay (d. 1891) and 
executed by Courcelles- Dicmont. Above these and the following 
paintings are smaller compositions, more or less related to the lower 
scenes (here, French saints). Beside the principal door are statues 
of St. Denis , by Perraud , and St. Remigius, by Cavelier. At the 
first piers, to the right and left, statues of St. Germain, by Chapu, 
and St. Martin, by Cabet and Becquet. 

South transept : Coronation of Charlemagne, and Charlemagne as 
restorer of literature and science, by H. Levy ; at the end, Pilgrimage 
to St. Genevieve (1130) and Procession with her relics (1496), by 
Maillot, and a Gobelins tapestry, 'Gratia Plena' (part of the old church- 
decorations) ; to the left, Baptism of Clovis and his Vow at the battle 
of Tolbiac, by Jos. Blanc. — "We then pass the statues of St. Gre- 
gory of Tours (left) by Franiet, and St. Bernard (right), by Jouffroy. 

To the right of the choir, Death of St. Genevieve, by J. P. Lau- 
rens, and a statue of the saint, by Guillaume. *Paintings on the left 
side, by Puvis de Chavannes (1898), relating to St. Genevieve and 
Attila (best seen from a little distance or from the foot of the steps). 



Latin. PANTHEON. Left Bank 16. 285 

On the vault is Christ showing to the Angel of France the destiny 
of her people, a mosaic by Hebert. between the pilasters of the choir 
are three panels ('Vers la Gloire') by Detaille (1905). On the other 
side, *St. Genevieve watcMug over besieged Paris, and St. Gene- 
vieve bringing provisions to Paris, by Puvis de Chavannes (1898). — 
Statue of St. Genevieve, by Guillaume; farther on (left), statue of 
St. Vincent de Paul, by Falguitre. 

North transept: to the right, Joan of Arc at Domremy, before 
Orleans, at Rheims, and at the stake in Rouen, by Lenepveu; at the 
end, Prayer, The Family, Patriotism, and Charity by Humbert, and 
a piece of Gobelins tapestry, 'Pro Patria'. On the left, St. Louis ad- 
ministering justice, founding the Sorbonne, founding the hospital of 
the Quinze-Vingts (p. 181), and as captive of the Saracens, by CabaneL 

Foucaulfs Pendulum. The long pendulum suspended from the centre 
of the cupola is a reproduction (placed here in 1902 by the Astronomical 
Society of* France) of the pendulum used by the Parisian physicist Le'on 
Foucault (d. 1868) in 1851 to demonstrate the rotation of the earth fcomp. 
p. 335). 

The Dome is reached by a staircase in the left (N.) transept. We 
ascend 139 steps to the roof, and then 192 more to the first section of the 
dome, through the large opening (23 ft.) in which we obtain a view of the 
paintings in the second section (see p. 284). — We may now ascend by 
94 steps more to the lantern, which commands a magnificent view of the 
city and environs, but less interesting than that from the Tour St. Jacques 
or Notre-Dame, as its position i3 not so central. 

The entrance to the Vaults (Caveaux; adm. 75c) is at the E. end of 
the building, to the left. We first notice a monument, in poor taste, to 
/. J. Rousseau (1712-1778) ; one to Voltaire (1694-1778), with his statue after 
Houdon ; and the simple tomb of Soufflot (1713-1781), the architect of the 
Pantheon, a plaster-model of which is shown beneath the left transept. 
Farther on, to the left, is a vault in which are placed the remains of General 
Lazare Camot (1753-1823), 'organizer of victory', member of the Convention, 
and those of President Camot (1837-1894), his grandson, General Marceau 
(1769-1796), La Tour d'Auvergne (1743-1800), 'the first grenadier of France 1 , 
and Baudin (p. 252). Then follow the tombs of Victor Hugo (1802-85), Marshal 
Lannes (1769-1809), Lagrange (1736-1813), the mathematician, Bougainville 
(1729-1811), the circumnavigator, Berthelot (1827-1907J, the chemist, and his 
wife, and a number of senators of the First Empire. 

The Bibliotheque Ste. Genevieve (PI. R, 19; F), a long building 
on the N. side of the Place du Pantheon, was built by II. Labrouste in 
1843-50. On the walls are inscribed names of celebrated authors of 
all nations. The collection of books was founded by Cardinal de la 
Rochefoucauld in 1624 in the Abbey of Ste. Genevieve, and greatly 
augmented by the library of Cardinal Le Tellier, archbishop of 
Rheims, in 1710. Declared to be 'national property' in 1790, it was 
transferred to the present edifice in 1850. 

The vestibule contains busts of famous French authors. — In 
the rooms of the 'Reserve' on the groundfioor are cases containing 
some of the rarest treasures of the collection (bindings emblazoned 
with coats-of-arms, including those of Ma'ioli and Orolier, illumi- 
nated MSS., elzevirs, incunabula, etc.). — On the staircase is a 
bust of Gering, who in 1469 established at the Sorbonne the first 
French printing-press. Above the landing is a copy, by Bahe, of 



286 Left Bank 10, ST. ETIENNE-PU-MONT. Quartier 

Raphael's School of Athens in the Vatican. At the sides are alle- 
gorical medallions (also by Baize), and busts of La Rochefoucauld 
and Labrouste. At the entrance to the reading-room is a fine piece 
of Gobelins tapestry, Study surprised by Night, after Baize. 

The vaulting of the Reading Room (Salle de Lecture), on the 
first floor, is borne by seventeen iron girders, supported in the 
centre by sixteen slender columns. The room accommodates 420 
readers. It is open to the public daily, except in the vacations (Easter 
week and 1st to 15th Sept.), from 10 to 3, and from 6 to 10 p.m. 5 
in the evening it is frequented almost exclusively by students. 

The library now contains 3493 MSS. (on the groutidfloor), of the 9th 
to the 17th cent., some of them illuminated with beautiful miniatures, 
and about 310,000 vols., including a nearly complete collection of Aldines, 
or books by the celebrated firm of Aldus and Paul us Manutius at Venice 
(15th and 16th cent.), and Elzevirs, or books printed by the family of 
that name at Leyden and Amsterdam (16th and 17th cent.)-, and also most 
of the periodicals published in the 17th and 18th centuries. The library 
possesses in addition a collection of about 8000 engravings, including 
nearly 5000 portraits. The portrait of Queen Mary Stuart is doubtfully 
said to have been presented by herself to the abbey of Ste. Genevieve. 

The Scandinavian Library, (ca. 20,000 vols.), at No. 6 Place du 
Pantheon (1st floor), is open on Sun. 10-12 and Tues. & Frid. 12-4. 

The Rue Valette, to the N. of the Place du Pantheon, contains at No. 21 
some interesting remains of the old College Fortet, founded in 1391, where 
the members of the Ligue and the Conseil des Seize held their meetings. 

St. Etienne-du-Mont (PI. R, 22 ; 7), the church to the N.E. of 
the Pantheon, presenting a combination of Gothic and Renaissance 
architecture, was erected in 1517-41. The choir is Gothic, while 
the facade, added in 1620, is in the Renaissance style. To the left 
of the portal is a square tower, flanked with a round turret, probably 
part of an earlier building. In 1795 this church became the 'Temple 
of Filial Piety' and was given over to the Theophilanthropists. 

The "Tnteriok, one of the finest of all the churches of Paris, 
consists of a nave and aisles of almost equal height. Slender round 
pillars, twelve on each side, united by a gallery halfway up, bear 
the lofty vaulting, from which spring the ribs terminating in pendent 
keystones, that over the transept being the most beautiful. The 
choir is separated from the nave by a *Jube, or rood-loft, of very 
fine workmanship, by Biard (1600-5). — The Pulpit, by Lestocard, 
from designs by Lahire (d. 1655), is borne by a Samson, and adorned 
with numerous statuettes. — The stained glass of the upper windows 
is most interesting; the finest is ascribed to Pinaigrier (1568). The 5th 
chapel on the right contains a 'Holy Sepulchre' with life-size figures in 
terracotta, dating from the 16th century. The other works of art, with 
the exception of the stained glass (p. 287), are of less interest. 

Ambulatory. The richly- decorated 2nd Chapel (modern) contains the 
Tomb of St. Qeneviive (p. 253), but only part of her sarcophagus is here. 
St. Genevieve's fete is celebrated by a sort of pilgrimage, Jan. 3rd-12th. — 
On the wall of the ambulatory in front of tins chapel are three large pic- 
tures, which, however, it is almost impossible to see, two of them (above) 
being votive offerings to St. Genevieve presented by the city, by Largilliire 
(1696) and D<s Troy (1726), and the third, the Stoning of St. Stephen, by 



Latin. ECOLE POLYTEOHNIQUE. Left Bank 16. 287 

Abel de Pujol. Beside them, the epitaph of Blai?e Pascal (d. 1662). More 
to the right, that of Jean Racine (d. 1699). — The Lady Chapel behind the 
choir (1660) contains four large frescoes by Caminade (scenes from the life 
of the Virgin ; 1839). — Behind the apse (door to the right) is the Galerie de 
PAncien Charnier (charnel-house; so named from the cemetery formerly in 
front of the church), containing some magnificent stained glass of the 
16-lTth cent., including the 'Mystic Wine-preys', attributed to Pinaigrier. 
— The Chapelle des Catechismes (1861), on the right, is decorated with 
paintings by Giacometti, Timbal, and Biennoury. Flanking the entrance are 
statues of St. John (right) and St. Louis of Gronzaga (left), by Chapu. — In 
the 1st chap, to the left of the choir are mural paintings of the 16th cent. : 
Martyrdom of 10,000 soldiers under Maximian. — Archbp. Sibour wa3 
assassinated at the high-altar by the Abbe Verger in 1857. 

The square tower, in the transitional style, to the right of 
St. Etienne, which now forms part of the Lycie Henri IV (PI. 
R. 22, 19; V), and is separated from the church by the Rue Clovis, 
is a relic of the old Abbey of Ste. Genevieve (a fragment of the 
facade may be seen in the Rue Clotilde, No. 1). The ancient 13th 
cent, refectory may still be identified in the Place Ste. Gene-vieve. 

In the Rue du Cardinal-Lemoine and facing the lower end of the 
Rue Clovis is the College des Ecossais (Scots College), the great seat 
of Scottish continental learning from the 14th cent, and latterly a 
centre of Jacobite influence. The building, dating from the 17th 
cent., is now occupied by the Institution Chevalier, a private school. 
The Chapel of St. Andrew, on the first floor, contains the tomb of 
the beautiful Duchess of Tyrconnel and a memorial erected by the 
Duke of Perth to James II. In an adjoining room are portraits of 
Prince Charles Stuart and his brother. Visitors are admitted on 
application to the concierge (fee). 

Nearly at the back of St. Etienne , to the N.E. , is the Ecole 
Polytechnique (PL R, 22 ; F), for the education of military and naval 
engineers, artillery officers, civil engineers in government employ, 
telegraphists, and officials of the government tobacco-manufactory. 
It was founded by Monge in 1794. The course of study covers two 
years; there are about 250 pupils. 

On the other side of the building is the Rue Monge, which con- 
nects the Boul. St. Germain with the Avenue des Gobelins (on the 
left the Arenes de Lutece, p. 288; on the right the Place Monge, 
p. 332). At the angle formed by the Rue Monge and the Rue des 
Ecoles is the Square Monge, with bronze statues of Voltaire, after 
Houdon (1872), and F. Villon, by Etcheto, two 6tone statues from 
the old H6tel de Ville, and a fountain in the Louis XV style. 

A little lower down, to the right of the Rue Monge, close to the 
Boul. St. Germain, is the Eglise St. Nicolas-du-Chardonnet, built in 
1656-1709, with a tower of 1625. 

The 1st chapel to the right contains a picture by Desgoffe, Jesus healing 
the blind man at Jericho, and one by Corot, Baptism of Christ. In the 
2nd chap, to the right of the choir, Monument of J. Bignon (d. 1656), by 
Girardon, and St. Francois de Sales by Ph. de Champaigne ; 4th chap. (1.), 
Monument of the painter Le Brun (d. 1690), by Coyzevox, and his mother 
(at the window), by Tuby. Organ-loft of the 18th century. 



288 Left Bank 17. PONT DES ARTS. Quarter 

The Rue Monge debouches in the Boul. St. Germain at the Place 
Maubert, where a modern bronze statue, by Guilbert, commemorates 
Eticnne Dolet, a printer burned in 1546, in the reign of Francis I., 
for 'impiety and atheism'. The reliefs represent Paris restoring 
Freedom of Thought, and the Arrest and Execution of Dolet. The 
inscription on one side reads : 'non Dolet ipse dolet, sed pia turba 
dolet'. 

The Rue Lagrange leads straight on to Notre-Dame (p. 266), 
passing behind St, Julien-le-rauvre (p. 270). The Boul. St. Germain 
leads, on the left, to the Boul. St. Michel, and, on the right, to the 
quays near the Halle aux Tins (p. 327). 

The squalid quarter to the S.E. of the Lyce'e Henri IV and the Ecole 
Polytechniqne contains many relics of old Paris. The Ktte Mouffetard 
(PI. G-, -2-, V) abounds in curious ancient signs. At No. 99 is the Marche 
des Patriarehes, which occupies the site of the Hotel de Chanac (14th cent.), 
the residence of Qt. and E. de Chanac. patriarchs of Alexandria and Jerusalem ; 
the Fountain at No. 60 dates from 1671. An inscription at No. 1 Place de 
la Contrescarpe, in the same street, records that there stood the Cabaret. 
de la Pomme-de-Pin , celebrated in prose and verse by Rabelais and 
Eonsard's k Plei'ade\ — More to the E., to the left of the Rue de Navarre, 
excavations made in 1870-83 brought to light part of an antique amphi- 
theatre, the 'Arenes de Lutece' (.PI. 0,22; F), or Amphitheatre of Lutetia. 
This was constructed on the E. slope of the 'Mont de Paris 1 (.p. 283) in 
the 2nd or 3rd cent, of our era. Its area (ea. 60 yds. by 50 yds.) is small in 
comparison with other amphitheatres of that period. The tiers of seats 
have been extensively restored. Other fragments are preserved at the 
Muse'e Carnavalet (.p. 1S7). The space is surrounded by gardens, con- 
taining a bronze bust of Gabriel de Mortillet (1821-98), the anthropologist. 



17. Quartier St. Germain. 

The quarter on the left bank opposite the Louvre and the Tuil- 
eries, within the Oth Arrondisscrnent (Luxembourg) on the E. and 
the 7th (Palais-Bourbon) on the W., is the residential centre of the 
French noblesse, whose stately mansions are found principally in 
the W. portion (p. 300). Until the end of the 17th cent, it lay out- 
side the city-fortifications, which surrounded the Universite* only on 
the left bank; and the name of Faubourg St. Germain dates from 
that period. 

The Pont des Arts (PL R, 20 ; IF), an iron bridge for foot-pas- 
sengers only, constructed in 1802-4, marks the E. limit of the 
Quartier St. Germain. It derives its name from the 'Palais des Arts', 
as the Louvre was once called. It commands a fine view on both 
sides. — On the right, between this bridge and the Pont du Carrousel 
and as far as the Pont-Koyal, extends the Port St. Nicolas', a quay 
alongside which one or two merchant -vessels from Liverpool or 
London are generally moored, representing the partial realization 
of the commercial ideal of 'Paris a sea-port' ('Paris port de mer'); 
comp. also p. 326. — On the other side of the bridge, to the left 
of the Institut (p. 289), once stood the famous Tour de Nesle, which 
tradition, unsupported by evidence, describes as the scene of the 



St. Germain. INSTITUT DE FRANCE. Left Bank 17. 289 

blood-stained orgies of Margaret of Burgundy, wife of Louis X (the 
theme of Alex. Dumas' popular drama 'La Tour de Nesle'). A metal 
plate at the corner of the W. wing of the Institute and the Quai de 
Conti shows the plan of the tower. 

The Institut de France (PI. It, 20; IV), a somewhat clumsy 
edifice, covered with a dome, is situated on the left hank of the 
Seine, at the S. end of the Pont des Arts (Quai de Conti 23-25), and 
opposite the Louvre. The crescent-shaped facade is flanked with 
wings adorned with arcades. In front of the Corinthian portico 
rises a Statue of the Republic, by Soitoux (1850). The institution 
was originally founded by Cardinal Mazarin (d. 1661) for the educa- 
tion of youths from the newly -acquired provinces of Roussillon, 
Pignerol, Flanders, and Alsace, and was named the College Mazarin, 
but was popularly known as the College des Quatre- Nations. During 
the Revolution it was used as a prison, but since 1805 it has been 
the seat of the Academies, or societies of savants, who had hitherto 
met in the Louvre. Its name was then changed to the Palais 
de VInstitut. 

The Institut de France embraces five different academies : the 
Academie Francaise, the Academie des Inscriptions et Belles- Lettres, 
the Academie des Sciences, the Academie des Beaux-Arts, and the 
Academie des Sciences Morales et Politiques. Each of these has 40 
ordinary members, except the Acade'mie des Sciences, which has 
68; and all except the Academie Francaise have honorary, cor- 
responding, and foreign members. The great annual meeting of the 
Institut is held on Oct. 25th in the 'Salle des Seances Solennelles' 
(formerly a chapel) under the dome, which is adorned with statues 
of French authors, scholars, and artists. The several academies meet 
in separate rooms and at various periods (May, July, December, 
October, and April). The meetings are public, but cards of admission 
must be obtained from the secretarial offices. The building may be 
inspected any day before 2 p.m., except Sunday. Each ordinary 
member receives a salary of 1200 fir. Vacancies are filled by the votes 
of the members in whose departments they occur , subject to the 
approval of government. 

The history of these ancient corporations is not very perspicuous. 
The oldest is the Academie Fkancaise, which originated about 1629 in the 
meetings of a group of learned men who came together to discuss questions 
of literary and scientific interest. It received state -recognition from 
Cardinal Richelieu in 1634-35. Its main function is to perfect the French 
language by the revision of the Dictionnaire de VAcadhnie, and to supervise 
the publication of a Lictionnaire Historique de la Langue Francaise. It awards 
prizes for distinction gained in various walks of life. Among these are 
the two Prix Montyon, founded by the Baron de Montyon (d. 1820) 5 one 
(18,000 fr.) being allotted to the person of French nationality who has 
performed during the year the most virtuous action, and the other (19,000 fr.) 
to the author of the literary work published within the preceding two 
years considered most useful to the cause of public morality. Other 
smaller prizes bring the total annual distribution of 'prix de vertu' to 
over 50,000 fr. The Prix Gobert (10,0C0 fr.) is awarded lor the most elo- 
quent work on the hittory of France. The ordinary meetings take place 

Baedekeu. Paris. 16th Edit. 19 



B90 left Bank 17. INST1TUT DE FINANCE. Quartier 

on Thurs., 3-4.80 p.m., the annual meeting in November. It is the ambition 
of every French author to become one of the 40 members of the Academy 
and so join the 'Immortals'. 

The* Acadeihe pes Inscriptions et Belles-Leti-uks, an offshoot (1663) 
of the Acadomie Francaise, was incorporated in 1701 and reorganized in 
1S03. It is chiefly devoted to the study of ancient and Oriental languages 
and to archaeological research (inscriptions, coins, monuments, etc.). It 
publishes periodica! Mt'moires. It awards the Prix Gamier (14,000 fr.) and an 
additional Brix Gobert (see p. 289). Meetings: ordinary on Frid. 3-6; 
annual in November. 

The Acaoemie pes Sciences; founded by Colbert in 1660, cultivates 
the study of mathematics and natural science. Its publications consist of 
Aft'moires and Comptes-Rendus des Stances. It controls the Prix La Caze, 
Jec&er, and Fttit dTOrmoy (six of 10,0J0 fr. each). Meetings: ordinary on 
Mon. 3-5; annual in December. 

The Acadehie des Bkaux-Akts, for the promotion of painting, sculpture, 
architecture, and musical composition, originated in the amalgamation 
(in 1816) of the Acadomie de Sculpture et de Peinture, founded by Ma/arin 
in 1648, and the Acadomie d'Architectnre, founded by Colbert in 1671. It 
publishes a dictionary and awards various prizes to artists and architects. 
Meetings: ordinary on Sat. 3-5; annual in October. 

At the Revolution the existing Academies were all suppressed (1793) 
and replaced in 1795 by an Institut National, divided into three classes. The 
first of these was the Academic des Sciences Physiques e.t Maih&matiques ; the 
second consisted of the newly-founded AcadSmje des Sciences Morales 
EX POLITIQUES, for the study of philosophy, history, and political eco- 
nomy; the third comprised the Academic de la Lit t drat are ct des Beaux-Arts. 
In 1805 the second class was entirely suspended (.until 1832), while the old 
Acadomie des Inscriptions was re-established, and added to the third class. 
The Academic des Sciences Morales et Bolitiques also publishes Ale" moires. 
Within its competence are certain special awards, such as the Prix 
Audi/fred, for devotion to duty or work (15,000 fr.). and the Prix Carnot, 
a charitable foundation under which 83 widows of workmen with large 
families receive an annuity of 200 fr. Its ordinary meetings are held on 
Sat. 12-2; the annual meeting in December. — There are also a few 
other prizes that are allotted by each Academy in turn. 

The building also contains the Bibliotheque de Flnstitut (for members 
only); the Bibliotheque Mazarine, which is open to the public daily, 
li to 4 or 5 o'clock (vacation from 15th Sept. to 1st Oct.) and contains 
253,000 vols., 1900 iucunabulae, and 5800 MSS., besides a nude, statue of 
Voltaire, by Piaal'e, presented to the famous author by his friends in 
1770; and the small Musee de Mine, de Caen (not open to the public; 
adm. on request at No. 1 Kue de Seine). The Countess de Caen (d. 1870) 
bequeathed the greater part of her property to the Institut, for the support 
of art-students in Rome, on the condition that each beneficiary should 
contribute an original work to the musee, which now contains a con- 
siderable number of paintings, sculptures, and architectural designs. 

Ill the small squares to the W, and E. of the Institut are statues 
of Voltaire (1694-17781, by C-aille, and Condorcet (1743-1794), by 
J. Penin. 

At No. 13 in the Q.uai de Conti (entrance at No. 2 in the Impasse Conti) 
is the house, in which Bonaparte occasionally lodged (on the 3rd floor) in 
1785-S9. — Behind the Institut, to the right, begins the long Rue de Seine 
(PI. R, 20, 19; IV), which leads straight to the Luxembourg. At No. 6 is the 
site of the house occupied by Margaret of France, or of Valois, the dissolute 
'Beine Margof of Henri IV, whom he repudiated ; it was reconstructed 
in the 18th centurv. Other interesting houses are No. 12 (tenanted bv 
David, Talma, David dangers, and others), Nos. 41, 42, 57, etc, — At the 
end of the Passage des Cours de l'lnstitut is the Bue Mazarine, where, at 
No. 42 (tablet), the Theatre Gue'ne'gaud was situated which Moliere's widow 
directed aftjSr his death in 1613 (comp. p. 33). 



St. Germain. ECOLE DES BEAUX- ARTS. Left Bank 17. 291 

The Hdtel des Monnaies (PI. R, 20; IV), or La Monnaie, the 
Parisian Mint, is a large building to the S.E. of the Institut and 
near the Pont-Neuf (p. 259), erected in 1771-79 by J. D. Antoine. 
The facade , which is 130 yds. in length, and adorned with Ionic 
columns, is surmounted by allegorical figures by Le Comle, Pigalle, 
and Mouchy. The institution of the mint is due to Charles the Bald 
(840-877). — The Monnaie contains a — 

Museb Monbtaieb, or collection of coins, which is shown on 
Tues. and Frid. , 1-3 p. in. (ateliers, see below). The museum is 
reached by the handsome staircase to the right of the entrance. 

The VKSTiiiiiLE contains specimens of the metals used in coining. — 
The Cranoe Salle (decorated in the Louis XVI style) contains the most 
interesting specimens. On each side of the entrance are medals and 
plaquettes hy modern French medallists. At the windows are lar^e 
vases of blue Sevre3 porcelain, surrounded by circular glass-cases con- 
taining medals by Prud'homme, Patey, Chaplain, and Lemaire (on the 
right side), and by *Roty, Soldi, and Lagrange (left side). In the centre, 
silver pieces from the Yang-tse-Kiang (representing very high values); 
coins from Cochin China, the French colonies, etc.; foreign coins and 
medals. At the end is an interesting collection of French Coins, arranged 
chronologically, from the earliest times down to the present day. In 
front of the fireplace are Chinese and Annamese coins. On the chimney- 
piece is a bust of the Republic, in biscuit porcelain, after Injalbert. 
The ceiling-painting, by J. J. Weerts, represents the 'Triumph of the Universal 
Exhibition of 1889\ 

Corridor. Illustrations of the official gold and silver stamps used 
in the 18th cent.; medals recently struck at the mint. — Room I. 
French medals from the 16th cent, to the reign of Louis XVI. — Room II. 
Medals and coins of the Consulate and First Empire; Napoleon's collection 
of medals. The wax models of the reliefs on the Vendome Column preserv- 
ed in this room, and the email model (1:24) of the column itself, afford a 
better idea of the details than the originals. A bust of Napoleon I. by 
Canova, executed in 1806, and a cast of the emperor's face taken 20 hours 
after death are also shown. — Room III. Medals struck in the reigns of 
Louis XVIII, Charles X, Louis Philippe, and Napoleon III. ; large medals, 
by Borrel; portrait of Andrieu, the engraver, by Delafontaine (1798). — 
Room IV. Foreign coins. 

The Ateliers, with their steam-engines, furnaces, and machinery, are 
well worth visiting. Visitors must be provided with an order (avail- 
able for 5 pers.) obtained on written application to the Director. En- 
trance on the left, by the arched passage, then by the door on the right 
side of the court. The workshops in which gold and silver pieces and 
medals are struck are shown, the whole process of melting, rolling, cutting, 
and minting being seen. The machines invented by Thonnelier are 
highly ingenious, 75 pieces of money being struck by each of them per 
minute. The 'Atelier du Monnayage 1 contains a marble figure of Abundance, 
by Mouchy. In the Monnaie are performed also all the operations of assaying 
and stamping the gold and silver wares of the jewellers. There are 
farther a money-changing ofhee, where also articles of gold are purchased, 
and a room for the sale of medals (comp. p. 48), which even non-purchasers 
may visit. 

Returning to the Institut, we soon reach the Rue Bonaparte, the 
second street to the left beyond that building. No. 14 in this street 
is the ■ — 

Ecole des Beaux-Arts (PI. R, 17, 20; IV), founded at the time 
of the Revolution, when the two academies of fine arts were amal- 
gamated (see p. 290) for the teaching of painting, sculpture, engrav- 

19* 



292 Left Bank 17. ECOLE DES BEAUX-ARTS. Quartier 

ing, and architecture. The pupils 'who obtain the first prizes ('grands 
prix de Rome') in the different departments are sent to Rome at the 
expense of government for four years. The -works they send home 
are exhibited here annually in summer. The school has a staff of 
33 professors, and is attended by about 2000 pupils of different 
nationalities. The present director is M. Leon Ronnat, the painter. 

The Palais des Beaux- Arts, erected in 1820-38 by Debret and 
his successor Duban, occupies the site of the old Convent des Petits- 
Augustins. In 1860-62 a new wing facing the Quai Malaquais was 
added, and the old Hotel Chimaij, adjoining this wing, was acquired 
in 1885 for the pupils' studios. It is open to the public on Sun., 
12-4, but not on holidays ; sometimes also on week-days, about 
2 p.m., on application to the concierge, who provides a guide (fee). 

The First Court, the entrance to which is flanked by busts of 
P. Paget and N. Poussin, by Mercie, contains many handsome frag- 
ments of French edifices, from the Gallo-Roman period down to 
the 16th century. These are the remains of the Muse'e des Monu- 
ments founded at the time of the first Revolution by the painter 
Alex. Lenoir (^d. 1839), and consisting chiefly of tombstones and 
reliefs rescued from the ruins of churches and chateaux. In 1816 
Louis XY111 dispersed the collection, and ordered most of the ob- 
jects to be restored to the churches or their original proprietors. 
In the centre of the court is a Corinthian column in red marble, sur- 
mounted by a bronze statue of Plenty (16th cent.). On the wall to 
the left is a fresco painted on lava by the brothers Baize, after the 
work formerly in the Villa Magliana (p. 125; No. 1512). To the 
right (at the entrance to the 'Muse'e de la Renaissance', p. 203) is 
the celebrated and beautiful portal of the Chateau dAnet, which was 
erected for Diana of Poitiers by Philibert Delorme and Jean Goujon 
in 1548, by order of Henri II. Built into the wall near tho portal 
are some remains of the Hotel de la Tre'mouille (14th cent.) which 
used to be in the Rue des Bourdonnais. 

The Second Court is separated from the first by part of the facade 
of the Chateau of Gaillon (p. 442) which was erected in 1500-1510 
by Guill. Senault and Pierre Fain of Rouen for Cardinal dAmboise, 
minister of Louis XII and one of the chief promoters of the Renais- 
sance in France. It is in a mixed Gothic and Renaissance style, 
affording a good idea of the character of the chateau, which was 
destroyed during the Revolution. Beyond it are other fragments of 
French architecture and sculpture, statues copied from antiques, 
and a fine stone basin, 13 ft. in diameter, adorned with heads of 
gods or heroes, animals, and the four elements, a work of the close 
of the 12th cent., brought from the abbey of St. Denis. 

The Principal Building, the *Facade of which, designed by 
Duban (1830), is one of the best examples of modern French archi- 
tecture, contains chiefly casts and copies of famous antique and 
Renaissance works of art. 



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St. Germain. ECOLE DES BEAUX-ARTS. Left Bank 17. 293 

On the groundfioor is the Musee des Antiques, an excellent 
collection of casts of antique statues and copies of paintings from 
Pompeii, Herculaneum, Delphi, etc., in addition to some Roman 
statues from the Villa Medici, including a torso of the Minerva Medici, 
after a Greek work from the time of Phidias. — "We next enter an 
inner court, roofed with glass, and pass through a corridor con- 
taining a fine Monument of Duban (1797-1870), the architect 
(p. 292), by E. Guillaume. — Behind is the Amphithe atee (PL 1), 
adorned with the celebrated *Hemicyle of Paul Delaroche (d. 1856), 
an encaustic painting which represents distinguished artists of all 
nations down to the end of the 17th cent, and contains in all 
75 figures (13 ft. in height). 

On a lofty throne in the centre are the great Greek masters, Phidias 
(the sculptor), Ictinus (the architect of the Parthenon), and Apelles (the 
painter). Four female figures in front represent (left) Greek, Gothic, and 
(right) Romanesque, and Renaissance art. — The Walters Gallery at Balti- 
more contains a reduced replica of this work (see Baedeker s United States). 

Opposite the Hemicycle is a large painting by Ingres, represent- 
ing Romulus victorious over Acron, King of the Sabines. 

The rooms on the first floor contain numerous copies of paintings 
of all schools, small casts, models of buildings, and so forth; the gal- 
leries to the right and left of the glass-roofed court are adorned with 
fifty-two copies from Raphael's logge in the Vatican, by the brothers 
Baize. In the Salle de Louis XIV (PI. 3) are copies of celebrated 
paintings, valuable original drawings, engravings, and busts of artists. 
The following passage contains original works, portraits of artists, 
etc. The gallery here affords a good survey of the Hemicycle of 
P. Delaroche. — Salle du Cornell (PI. 4) : Portraits and busts of 
artists, including those of the sculptor Dubois, by Falyuiere, the 
painters Gerome and Lenepveu, by Carpeaux and Injalbert, the 
architect Gamier, by Carpeaux, and the painters Henner and Baudry, 
by Dubois; a bronze statuette of Meissonier, by V. Gemito; also eight 
torch-holders in wood (time of Louis XIV), and a clock in the style 
of Boule. — The Library (PL 2) comprises over 20,000 vols, and a 
number of drawings. Permission to use it may be obtained by written 
application to the Director of the Ecole. 

The Adjacent Building, on the N. side of the first court (en- 
trance through the portal of the Chateau d'Anet, p. 292), contains 
the old chapel of the Augustine Monastery, now converted into a 
Musee de la Renaissance, with copies of paintings and casts of 
sculptures by Italian masters of the 14- 16th centuries. At the end 
is a copy of Michael Angel o's Last Judgment, by Sigalon (1836). — 
In the Vestibule des Ecoles, beside the chapel, is a monument to 
Ingres, with his bust in bronze, and medallions of Flandrin and 
Simart, his pupils, by E. Guillaume. Adjoining it is the Cour du 
Murier, with galleries containing sculptures executed at Rome by 
former pupils and casts of ancient bas-reliefs. At the end is the 
monument of Henri Regnault, the painter, and other pupils killed 



294 teftBmlcri. ECOLE DES BEAUX-ARTS. Quartier 

during the defence of Paris in 1870-71, with a statue of Youth, 
by Chapu. 

Opposite this wall another vestibule leads to the Salle de Melpo- 
mau\ occupied with the remainder of the Muse"e des Copies and 
used for the exhibition of competitive works. — The rooms marked 
5, 6, and 7 on our plan contain the works that have gained the Grand 
Prix de Rome since the end of the 17th century. — In the two 
Sattes d' Exposition (PI. 8). next the quay, the works sent from Pome 
by holders of the Grand Prix. (p. 292) are annually exhibited in 
July; sculpture on the groundfloor , paintings and architectural 
designs on the first floor. The room on the first floor is used also 
for private exhibitions, in which case it is sometimes entered from 
the Quai Malaquais. 

As we quit the Ecole des Beaux-Arts we notice in the Rue Bona- 
parte, on the right, the Academie de Medecine(Pl. R,20; IV). This 
does not form part of the Institut (p. 289). It was founded in 1820, 
its headquarters being situated near the Ilopital de laCharite(p.298). 
This new building, which was designed by J. Rochet, was opened in 
1902. The facade is in the classic style, but embellished with de- 
corations adapted from medicinal plants. The columns in front are of 
the Ionic order. The keystone of the great arch over the principal 
entrance is adorned with a head of iEsculapius, from an antique in 
the Louvre. The best time for seeing the interior is between 4 and 
5 o'clock (fee). 

Interior. Vestibule. To tbe right as we enter is a fine bust of Dr. 
E. Deehambre (1S12-S6), by E. Barrios; beyond, statues, by Eobinel, of 
Baron Larrey and Desgenettes, two distinguished army-surgeons under 
the First Empire-, then, five busts, includiug those of Pean and Broca. — 
The Grand Escalier, with three more busts, is situated on the right (lift). — 
First Floor. On the left, the Salle de Lecture, with paintings by Mvtler: 
Desgenettes on the battle-field, and Archbp. Belsunce succouring the 
plague - stricken at Marseilles. To the right of this room are a small 
museum of surgical instruments and the spacious Library. Opposite, to 
the right of the staircase, the Salle des Pas-Perdus, with numerous busts 
of academicians. The third on the loft of the door is that of Ambroise 
Pare (1510-1590), surgeon to Henri II, Henri III, and Charles IX, 
executed in marble by David d'Angers, with the inscription 'Je le pansay 
et Dieu le guarit\ Opposite the entrance to the Salle des Stances (with a 
glass roof) is a painting by Muller, representing Pinel (I715-1S'26) causing 
the lunatics at the asylum of Bieetre to be freed" from their manacles. To 
the right, and left ot the entrance to the next room: Copy of Rembrandt's 
Lesson in Anatomy; Harvey demonstrating the circulation of the blood 
before Charles I. The Salon de Conversation, at the end of the Salle des 
Pas-Perdus, is adorned with a large picture (on the right wall) of Dutch 
savants discussing the discovery of quinine. In the Salle du Conseil, above 
the chimney piece, is a portrait (attributed to Titian) of the great Belgian 
anatomist Vesalius (1514-64). On the opposite side, overlooking the court 
(with a separate entrance), are three laboratories for the preparation of 
vaccine, besides chemical and bacteriological laboratories-, the stables have 
accommodation for twelve heifers, from which the lymph is extracted. 

The Rue Bonaparte leads to the S. to the little Place St. (•'ermain- 
des-Pres (PI. R, 16; ZV), a busy centre of the omnibus and tram- 
way traffic. 



St. Germain. ST. GERMAIN-DES-PRE3. Left bank 17. 295 

*St. Germain-des-Pres (PI. R, 19; IV), on the E. side of the 
'place', is one of the most ancient churches in Paris. It belonged 
to the powerful abbey of St. Germain, founded in 542 or 543 by 
King Ohildebert, the abbots of which were sometimes cardinals and 
even kings, as in the case of Hugh Capet and Casimir V. of Poland, 
and included later, after its conversion to the tenets of St. Maur, 
great ecclesiastics like Mabillon and Montfaucon. The nave is a relic 
of an edifice of the end of the 11th century. The choir, consecrated 
in 1163, was afterwards altered, particularly in the windows, which 
show a tendency to Gothic. Two towers, over the transept, had to 
be partially pulled down in 1821. After the Revolution the church 
fell into a very dilapidated condition, but it was restored after 1836. 

The Interior was painted and gilded in 1852-56 in (he style of the 
11th century. To the right of Ihe entrance is a copy of the bronze statue 
of St. Peter at Rome ; to the left of St. Peter, a marble statue of Notre- 
Dame-de-Consolation, presented to the abbey of St. Denis by Queen Jeanne 
d'Evreux in 1340. 

The *Frieze, painted in 1852-61 by Hippolyte Flandrin , represents 
parallel scenes from the Old and New Testament (a clear day is indispens- 
able for seeing them properly 5 best about noon). On the left side of the 
entrance: the Burning Bush and the Annunciation; the Promise of a 
Redeemer and the Nativity; the Prophecy of Balaam and the Adoration 
of the Magi; the Passage of the Red Sea and the Baptism of Christ; 
Melchizedek's offering of bread and wine to Abraham and the Institution 
of the Eucharist. — On the other side , returning towards the entrance : 
the Sale of Joseph and the Betrayal of Christ; the Offering of Isaac and 
the Death of Christ; Jonah issuing from the whale's belly and the Resur- 
rection; the Scattering of the nations and the Dispersal of the Apostles; 
the Ascension and Preparations for the Last Judgment (the last executed 
by Hippolyte's brother Paul). — In front of the choir are the Four Arch- 
angels. — Most of the archaic capitals on the columns were copied from 
the originals which are now to be found in the garden of the Hotel de 
Cluny (p. 280). Facing the pulpit i3 the monument of H. Flandrin (d. 1864), 
with a bust by Oudini. 

The S. Transept contains, on the right, the tomb of Olivier and 
Louis de Castellan (d. 1644, 1669), with their medallions, by Girardon. To the 
left, above the altar, is a marble statue of St. Margaret, by/. Bourlet (1705). 

The Choir is embellished with two large encaustic paintings on a gold 
ground, begun by H. Flandrin in 1842, and finished in 1861 : on the left 
the Entry of Christ into Jerusalem; on the right the Bearing of the Cross; 
above, Christ and the Virgin in glory; Chrislian and Moral Virtues. Then, 
above the arcades, the Apostles; the angel, lion, bull, and eagle, the 
symbols of the Evangelists; and the Lamb of the Apocalypse. 

Choir Chapels. In the first chapel is the monument of James, 
Duke of Douglas (d. 1645). — The following chapel contains slabs of black 
marble to the memory of the philosopher Descartes (d. 1650), the learned 
Mabillon (d. 1707), and Montfaucon (d. 1641), all of whom are interred 
here. — Behind the high-altar is the modern Lady Chapel, with grisaille 
paintings of the Adoration of the Magi and the Presentation in the 
Temple, by Heim. — In the chapel of SS. Peter and Paul a tablet com- 
memorates the poet Boileau (d. 1711), whose remains were transferred hither 
from the Sainte-Chapelle in 1819. — The first chapel on the left contains 
a monument to William, Earl of Douglas (d. 1611). 

In the N. Transept, the monument of Casimir V. (d. 1672), king of Po- 
land (see above); over the altar, statue of St. Francis Xavier, by G. Coustou; 
above, frescoes by Gornu (1870). 

The corner of the Rue Bonaparte, near the church, is adorned 
with a beautiful sign by A. WiUette : Bonaparte and Glory. 



296 Left Bank 17. ST. GERMAIN-DES-PRF,S. Quartier 

To the N. of the church, at the corner of the Rue de l'Abhaye, 
is a small square in which three or four arcades from the old chapter- 
house of the abhey and other Gothic sculptures from the precincts 
have been set up. The curious old abbey-cellars may be entered from 
the Rue de l'Abbaye 10 (apply to the concierge). At No. 3 are the 
remains of the Palais Abbatial, of the late 16th century. 

Opposite, to the left, runs the Rue de Furstenberg (PL R, 19, 20; IV), 
named after Cardinal Furstenberg, who was abbot under Louis XIV; at 
No. 6 the painter Delacroix died (1863 ; inscription in the court). A pillar 
from the doorway of the abbey is seen at the corner of the Rue Jacob, a 
little farther on. — The Prison de VAbbaye, where the 270 victims of the mas- 
sacres of Sept., 1792, were confined, was situated farther back, on a site 
now traversed by the Boulevard St. Germain; the actual massacre was 
accomplished in the Place St. Germain (then an enclosed court in front of the 
church), at the end of the Rue Bonaparte. — The abbey was surrounded 
by meadows, among them being the famous Pre" aux Clercs, or students' 1 
promenade. 

The small square to the S. of the church of St. Germain is em- 
bellished with a bronze Statue of Bernard Palissy (1510-89), by 
E. Barrias; the large portal in the wall to the right is adorned with a 
relief in Sevres porcelain. — The S. side of the church adjoins the 
Boul. St. Germain (p. 300), in which is a Statue of Diderot (1713- 
84), in bronze, by Gautherin. To the S.W. runs the handsome Rue 
de Rennes, leading to the Gare Montparnasse (p. 335). 

On the right side of this street, at No. 50, is the entrance to the Cour 
du Dragon, containing a balcony resting on a fine dragon of the 18th cent- 
ury. At the end of this quaint court is the Rue du Dragon (PL R, 16; IV), 
where Palissy is said to have lived (at No. 24; terracotta work of 1575). 
No. 30 is an ancient house in which Victor Hugo lived in 1821 (attic on 
the 5th floor, with balcony; tablet). 

We continue to follow the Rue Bonaparte (PL R, 16; IV), to the 
left, and in a few minutes more reach the Place St. Sulpice 
(omnibus stat.), with the handsome Fontaine St. Sulpice, designed 
by Visconti, and erected in 1847. The fountain consists of three 
basins, one above the other, and is embellished with statues of 
the four most celebrated French preachers of the 17th and 18th 
cent.: Bossuet (d. 1704), Fe'nelon (d. 1715), MassiUon (d. 1742), 
and Flechier (d. 1710). — The long building on the S. side is the 
former Seminaire de St. Sulpice, founded in 1646 by Abbe Olier, 
cure of St. Sulpice, for the training of priests devoted to education 
('Sulpiciens'). The seminary was closed in 1906 and is to be oc- 
cupied by the collections from the Luxembourg. The court is to be 
covered by a glass-roof and to contain the sculptures. — On the W. 
is the Mairie of the 6th Arrondissement (Luxembourg) ; the ceiling- 
painting in the Salle des Fetes is by H. Levy. 

*St. Sulpice (PI. R, 19; IV) is the richest and one of the most 
important churches on the left bank of the Seine. The rebuild- 
ing of the edifice, on the site of a parish church of the 12th cent., 
was begun in the reign of Louis XIV from the designs of Oamart, 
continued by Levau and others, and completed in 1733-49 by the 
Florentine architect Servandoni. The facade, by Servandoni, which 



St. Germain. ST. SULPICE. Left Batik 17. 297 

is considered one of the best of its period, consists of a Doric and 
an Ionic colonnade, placed one above tbe other. It is flanked with 
two towers, the highest of which, rebuilt by Ohalgrin, and 240 ft. 
high, is alone finished. Five flights of steps, between the columns, 
ascend to the entrance. Statues of SS. Peter and Paul flank the 
central portal. Under the Convention this church was the Temple 
of Victory, and it was the scene of a banquet given to General 
Bonaparte in 1799. When the gate in front is closed visitors enter 
by the S. portal or by a small door to the left behind the choir. 

The Interior, in the form of a Greek cross, is 460 ft. in length, 184 ft. 
in width, and 108 ft. in height. The spherical vaulting is borne by massive 
Corinthian pillars. The eighteen radiating chapels were richly adorned 
with frescoes in the 19th century. Adjoining the second pillar are beni- 
tiers consisting of two enormous shells (tridachna gigas), presented to 
Francis I. by the Republic of Venice, resting on rock-work of sculptured 
marble. 

Right Aisle. 1st Chapel: *Jacob wrestling with the Angel, and Heli- 
odorus expelled from the Temple; on the ceiling, St. Michael; all by Eugene 
Delacroix (1881). —2nd Chapel: Religion solacing a dying man, and Efficacy 
of prayer for the dead, by Heim. — 3rd Chapel: St. Roch praying for the 
plague-stricken, and Death of the saint in the prison of Montpellier, by Abel 
de Pujol (1821). — 4th Chapel : Scenes from the life of St. Maurice , by 
Vinchon (1822). — 5th Chapel: Marble monument of the cure" Languet 
(d. 1750), by Mich. Slodtz. 

Left Aisle. 1st Chapel: St. Francis Xavier resuscitating a dead 
man, and Miraculous cure of sick persons at the burial of the saint, by 
La/on (1859). — 2nd Chapel: St. Francis de Sales preaching in Savoy, 
and Ste. Chantal receiving from the saint the constitution of a new order 
of nuns ('Sceurs de la Visitation'), by Hesse (1860). — 3rd Chapel: St. Paul's 
Conversion, and St. Paul on the Areopagus, by Drolling (1850). — 4th Chapel: 
St. Vincent de Paul recommending foundlings to the care of sisters of 
charity, and The saint at the death-bed of Louis XIII. by Guillemot (1825), 
and a marble group by E. Cabuchet (1857). — 5th Chapel : Large carved 
altar, with a crucifix and confessionals in the Louis XV style. 

Transept. Left arm : Betrayal by Judas, and the Crucifixion. Right 
arm : Resurrection and Ascension, and Prophets. These are all by Signol 
(1872-76). On the pavement here a Meridian Line was drawn in 1743. It is 
prolonged to an obelisk of white marble which indicates the direction of 
the true N., while towards the S. it corresponds with a closed window, 
from a small aperture in which a ray of sun-light falls at noon on the 
vertical line of the obelisk. — By the pillars in the choir are eight Apostles, 
two Angels, a Scourging of Christ, and a Mater Dolorosa, by Bouchardon. 
The seated figures above the doors, by Pradier, represent SS. Paul and 
John the Evangelist. 

Choir Chapels, N. or left side. 1st: Martyrdom and Triumph of St. 
John the Evangelist, by Glaize (1859). — 2nd: San Carlo Borromeo at a 
procession during the plague at Milan, and The saint administering the 
last sacraments to Pius IV.. his uncle, by A. Pichon (1867). — 3rd: St. 
Joseph, by Ch. Landelle (1875). — 4th: St. Louis, King of France, carrying 
a dying man during the plague, and St. Louis administering justice, 
under the oak of Vincennes, by L. Matout (1870). — Above the side- 
entrance : Death of the Virgin, by E. Bin (1874). 

Choir Chapels, S. or right side. 1st: St. Denis preaching to the 
heathen Romans , and Condemnation of the saint, by Jobbi-Duval (1859). 
— 2nd: St. Martin dividing his cloak with a beggar, and The saint 
resuscitating a dead man, by V. Mottez (1863). — 3rd: St. Genevieve suc- 
couring Troyes (Champagne) , and Miracles wrought by her relics during 
a procession, by C. Timbal (1864). — 4th: Nativity of the Virgin, and Her 
presentation in the Temple, by L. Lenepveu (1864). — Above the side- 
entrance : Assumption, by E. Bin (1874). — In the beautiful Lady Chapel 



298 Left Bank 17. QUAI D'ORSAY. Quartier 

behind the altar is a Madonna and Child, in marble, by Pigalle; the fresco 
of the Assumption in the cupola is by Lemoyne. — The pulpit is supported 
solely by the steps which ascend to it. 

The organ-case was designed by Ghalgrin , with statues by Clodion. 
The fine organ, originally built by Cliquot and reconstructed by Cavaille'- 
Coll, is one of the largest in the world, and contains 5 keyboards, 118 registers, 
and 65SS pipes. The choir of St. Sulpice has a reputation for its 'plain song\ 

The Rue St. Sulpice, to the left of the church, and then the 
Rue de Tournon, the second cross-street to the right, lead to the 
Palais du Luxembourg (p. 314). 



Several handsome bridges, commanding fine views, connect the 
right bank with the "Wa portion of the Quartier St. Germain. 

The Pont du Carrousel (PI. R, 17,20; II, IV), or Pont des Saints- 
Peres, as it used to be called, connects the Quad du Louvre with the 
Quai Voltaire, and was constructed in 1832-34 by Palonceau. It is 
embellished with colossal statues after Petitot : Plenty and Industry 
on the right bank, the Seine and the City of PaTis on the left. Not 
far from here is the Ecole des Beaux-Arts (p. 291). 

A little to the E. of the S. end of the bridge is the Rue des Saints- 
Peres, in which is the Hopital de la Chariti (PI. R, 17; IV). — In the Rue 
de Lille, to the W. of the Rue des Saints -Peres, is the Ecole des Langues 
Orientales (No. 2), founded by the Convention in 1795 ; the court contains 
a statue of the scholar Sylvestre de Sacy (175S-1836), by Rochet. No. 41, 
built in 1S06, is the Maison des Dames des Postes (PI. R, 17; IV). 

The five arches of the Pont-Royal (PI. R, 17; II), built in 1685, 
span the river opposite the Pavilion de Flore (p. 69), on the Quai 
des Tuileries. 

Near it, facing the central exit of the Jardin des Tuileries (p. 67), 
is the Pont de Solferino (PI. R, 17; II), with three iron arches, 
erected in 1858-59. — Pont de la Concorde and Pont Alexandre III, 
see pp. 67, 224. 

The Gare du Quai-d'Orsay (PL R, 17, II; see p. 32), the 
terminus of the Orleans Railway, is a prominent feature on the right 
(E.) of the Pont de Solferino. This huge building, completed in 1900, 
has taken the place of the old Cour des Comptes, which was burnt 
by the Communards in 1871 . The main line has been continued hither 
from the old terminus on the Quai d'Austerlitz (p. 327), a distance 
of about 2Y4M., nearly 2 M. of which are underground. The arrival 
platform is at the side facing the Rue de Bellechasse, the departure 
platform being next the Seine. There is a handsome restaurant on 
'the first floor, reached from the cafe below. The rest of the building 
is occupied by a Hotel (p. 5). The adjacent edifice is the Caisse des 
Depots et Consignations. 

Opposite this station is the tasteful Palais de la Legion d'Honneur, 
(PL R, 17; 71), built by Rousseau in 1782-89 for Prince de Salm- 
Kyrbourg, and re-erected by public subscription after its destruction 
by fire during the Commune. The decoration and the courtyard are 
noteworthy. Mme. de Stael held her receptions here under the 



St. Germain. CHAMBRE DES DEPUTES. Left Bank 17. 299 

Directory. Farther on, at Rue <le Lille 78, is the German Embassy 
(PI. R, 17; //), formerly occupied "by Prince Eugene de Beauharnais. 

The Chambre des Deputes (PI. R, 14; II), otherwise known as 
the Palais-Bourbon, is situated on the Quai d'Orsay, at the end of 
the Boul. St. Germain (p. 300), and opposite the Place and the Pont 
de la Concorde (p. 67). The palace was begun in 1722 by Girar- 
dini for the dowager Duchess of Bourbon, daughter of Louis XIV 
and of Mme. de Montespan. The Prince de Conde', the grandson of 
the duchess, enlarged it in 1777, and in 1790 it was declared national 
property. After the necessary alterations had been made the build- 
ing was used for the sittings of the Council of Five Hundred, and 
afterwards for those of the Corps Le*gislatif and the Chamber of 
Deputies, which has 581 members. 

The original facade is on the side farthest from the Seine, in the 
Rue de l'Universite. The little square in fron't of it is embellished 
with a marble statue of Law, by Feucheres (1855). The facade 
towards the river, built by Poyet in 1804-7, is in the style of a Greek 
temple, with a Corinthian colonnade of twelve columns. To the right 
and left of the flight of steps are placed statues of Themis and Minerva, 
and on massive pedestals in front are seated figures of D'Aguesseau, 
Colbert, L'Hopital, and Sully. On each side of the portico are reliefs 
by Rude and Pradier, and in the tympanum a group by Cortot, which 
represents France with the constitution, between Liberty and Order, 
summoning Commerce, Agriculture, and Peace to her aid. 

Inteeioe. When the Chamber is sitting visitors are admitted only 
to the Salle des Seances, for which they require a ticket from the 'se- 
cretaire de la questure', to whom application should he made by letter 
or through an ambassador. The public entrance (before 2 p.m.) on these 
occasions is in the small building to the right of the grand staircase which 
ascends from the quay. At other times the building is open to the public 
from 9 to 5; and visitors should then apply to the left in the court be- 
hind, entered from the Hue de l'Universite; they are escorted by an 
attendant (fee). — The Salle des Pas-Peedus has a ceiling-painting (Peace) 
by Horace Vernet. — The Salle des Seances, or Assembly Hall, is semi- 
circular in form, and is borne by twenty marble columns, behind which 
are the public galleries. The hall is embellished with a reproduction in 
tapestry of Raphael's School of Athens, and with marble statues of Li- 
berty and Public Order, by Pradier. — The Salle des Confeeences con- 
tains a ceiling-painting by Heim, representing the history of legislation in 
France, and several pictures: President Mole arrested by the factionists 
during the Fronde, by Vincent; Opening of the States-General by Philippe 
le Bel, by Vinchon; Self-sacrifice of the burghers of Calais, by Art/ Scheffer. 
— The Libeaet is adorned with ceiling-paintings by Eug. Delacroix (in the 
cupolas, Poesy, Theology, Legislation, Philosophy, and the Exact Sciences; 
in the lunettes at the ends, Attila in Italy and Orpheus instructing the Greeks 
in the peaceful arts). — In the Salle des Disteibutions are scenes in grisaille 
by Abel de Pujol. — The Salle Casimie-Peeiee is embellished with statues of 
Mirabeau and Bailly by Jaley, Perier by Buret, and General Foy by Desprez, 
and bas-reliefs by Triqueti and Dalou. — The Salle dd Teone contains paint- 
ings of Justice, War, Industry, Agriculture, and the Seas and Pavers of 
France, by Eug. Delacroix. 

Adjoining the Palace is the Hotel de la Presidence de la Chambre, 
or presidents residence, built about 1722 as the mansion of Lesparre 
de Lassay, and incorporated with the Palais-Bourbon in 1770 under 



300 Left Bank 17. BOULEVARD ST. GERMAIN. QuarUer 

the name of Petit-Bourbon. Farther along the quay is the Ministlre 
des Affaires Etranglres (PL R, 14; II), or Foreign Office, a hand- 
some edifice built in 1845 by Lacornee. Immediately beyond is the 
Esplanade des Invalides (p. 302). 

The Rue de Lille and Rue de l'Universite, which run parallel to 
the Quai d'Orsay on the S. and are intersected by the Boul. St. Germain, 
and the Rues St. Dominique , de Grenelle (p. 301), and de Yarenne, 
to the S.W. and S. of this boulevard, present a somewhat deserted 
appearance, consisting as they do largely of private houses. Many of 
these are old mansions of the French nobility, hidden from view by 
the 'cours d'honneur' in front, e.g. in the Rue St. Dominique (PL R, 14, 
17; IV), No. 45 and No. 1 (with an oval court, built by G. Boffrand, 
1695) ; in the Rue de Varenne (PL 14, 17, 16 ; IV), No. 77, now the 
Convent du Sacre-Cceur, and No. 57, formerly the Hotel de Montmo- 
rency, now the Austrian Embassy. 

In the Boulevard St. Germain (PI. R, 17; IV), which was begun 
under Napoleon III. but completed after his time, rises the Ministlre 
de la Guerre (PL R, 14, 17 ; II, IV), or War Office, part of it occupying 
the former residence of President Duret, which was built by Aubry 
in 1714 and re-erected by Bouchot in 1877. It was inhabited by 
Marshal Richelieu (1765), Lucien Bonaparte, and other personages. 
Near it is the Ministlre des Travaux Publics (PL R, 17; IT), or Office 
of Public Works, formerly Marshal Roquelaure's mansion, constructed 
in 1726 by Leroux, and afterwards tenanted by the Due de Bethune- 
Snlly (1747) and Cambaceres (1812). The 'annexe' is a building by 
De Cotte, which belonged to Marshal Kellermann. 

At the intersection of the Rue du Bac and Boul. St. Germain is a 
bronze statue, by Dame, of Claude Chappe (1763-1805), inventor of tbe 
aerial telegraph. — Further on the Rue de St-Thomas-d'Aquin leads to 
the left to a small square, in which rises the church of St. Thomas- 
d'Aquin (PI. R, 17; IV), erected in the 17-18th century. The modern reliefs 
on the side-doors, St. Thomas Aquinas and St. Dominic, are by Vilain and 
Gruy&re. In the interior are frescoes by Blondel; the ceiling of the apsidal 
chapel is adorned with paintings: Transfiguration, by Lemoyne; St. Louis 
administering justice, by Merson. 

At No. 184, on the left side of the boulevard, is the Geographical 
Society, with a library (ca. 60,000 vols.) and souvenirs of distin- 
guished explorers (adm. daily, 1-4; visitors ring). 

Farther on the Boul. St. Germain passes the church of St. Ger- 
main (p. 295), the Ecole de Medecine (p. 270), etc. 

The Rue du Bac (PL R, 17, 16 ; IV), which ends at the Pont- 
Royal, is one of the oldest streets in the Faubourg St. Germain. Its 
name recalls an old ferry ('bac'). The Hotel Le Vayer et de Boulogne 
(No. 46) has a handsome court and a sculptured doorway; the revolu- 
tionist Barras lived there in 1812. At No. 120, the Hotel de Clermont- 
Tonnerre (1789; fine doors), Chateaubriand died in 1848 (inscription). 

The Rue du Bac to the S. of the Boul. St. Germain is crossed by 
the Rue de Grenelle, in which, to the left (at Nos. 57 and 59) rises 
the attractive Fontaine de Grenelle (PL R, 17; IV), or des Quatre- 



St. Germain. RUE DE GRENELLE. Left Bank 17. 301 

Saisons, erected in 1789 from designs by Bouchardon. It consists 
of a crescent in the centre of which is a small Ionic portico, adorned 
with an allegorical group in white marble representing the City of 
Paris with the Seine and the Marne. In niches at the sides are 
statues of the Seasons with appropriate reliefs. 

Near the S. end of the Rue du Bac, beyond the R,ue de Varenne (p. 300), 
we notice on the left the huge emporium of the Bon MarfM (p. 48), and 
on the right, at No. 128, the Seminaire des Missions Etrangeres (PI. R, 16; 
IV), built in 1663 by Bishop Bernard de Ste. The'rese for the training of 
Roman Catholic missionaries. A melancholy sight is afforded here by the 
Chambre des Martyrs (shown daily except Wed., from 1 to 4 or 5, on Sun. 
and holidays from 1 to 2.30), which contains numerous instruments, 
especially from China, used in torturing and killing Christian martyrs, blood- 
stained clothes of missionaries, and other relics (contribution expected). 

The main frontage of the Bon-Marche' looks into the Square des Manages, 
with a marble group of Sleep by M. Moreau and 'Presentiments 1 , by Viber. 
At No. 16 in the Rue de Sevres (PL R, 16;iT), which skirts it on the S.W., 
is the Convent de V Abbaye-aux-Bois, founded in 1640. Mme. Re'camier re- 
tired thither in 1814 and lived there until her death in 1849. It is about 
to be pulled down. At No. 42 in the Rue de Sevres is the Hdpital Laennec, 
formerly the Hospice des Incurables, founded in 1634 (interesting court and 
chapel). Here also is a remarkable Egyptian fountain (1st Empire). The 
Eglise des Lazaristes, opposite, contains a silver reliquary in which repose 
the remains of St. Vincent de Paul. A little beyond are the Couvent des 
Oiseaux and the Blind Asylum (p. 311). 

Returning to the Fontaine de Grenelle through the Rue du Bac, 
we follow on the W. the Rue de Grenelle (PI. R, 17, 14; IV). The 
house at No. 75 had for its occupants Cardinal d'Estrees (17th 
cent.), Furstenberg, Plessis-Richelieu, and Galliffet. No. 106 is the 
Eglise de Pentemont (1755), since 1804 a Protestant church. The 
Ministere del* Agriculture, du Commerce et de V Industrie occupies 
(No. 101) the old Hotel d'Argenson (1700). Nos. 138-140 (the former 
Hotel de Chatillon) are tenanted by the Service Oeographique de VAr- 
mee. No. 127, now the Archiepiscopal Palace, was in 1740 the Hotel 
de Chanac. No. 79, the Russian Embassy, was built by De Cotte for 
the Duchesse d'Estre'es (1709). 

Ste. Clotilde (PI. R, 14; IV), between the Rue St. Dominique 
(p. 300) and the Rue de Grenelle, one of the finest modern churches 
in Paris, was erected in 1846-59 by Oau and Ballu in the Gothic 
style of the 14th century. The spires of the two towers rise to a 
height of 226 ft. 

The Interior consists of nave, aisles, transept, and ambulatory; there 
are no lateral doors. Magnificent stained-glass windows by Marichal, Gali- 
inard, Jourdy, Thibaut, Amaury - Duval, Lusson, and Hesse. The two small 
chapels of the aisles are adorned with paintings (named) by Delaborde. 
Under the windows of the aisles and in the transept are bas-reliefs by Duret 
and Pradier, forming a v Chemin de Croix 1 . — The chapel of Ste. Valere, 
the martyr of Limousin, to whom a church was once dedicated on this 
site, is in the right (W.) transept. It contains scenes from her history by 
Lenepveu. The choir-screen is adorned with four bas-reliefs by Guillaume, 
two on the right representing Ste. Valere, and two on the left Ste. Clotilde. 

— The choir-chapels are embellished with mural paintings : 1st on the right 
(St. Remi), by Pits and Laemlein; 2nd (St. Joseph), by Bizard; 3rd (Virgin), 
by Lenepveu; 4th (Ste. Croix), by Brlsset; 5th (St. Louis), by Bouguereau. 

— In the left transept are two large compositions by Laugie : St. Clotilde 



302 Left Bank 18. INVALIDES. Esplanade. 

succouring the poor, and the Baptism of Clovis. — The carved choir-stalls 
and the high-altar, which is enriched and inlaid in the mediaeval style, 
also deserve inspection. — The grand organ is by Cavaille"-Coll, and the 
electric organ in the choir by Merklin. 

The square in front of the church is adorned with a handsome 
group in marble, by Delaplanche, representing Maternal Instruction, 
and with a monument (by A. Lenoir) to Cesar Franck (1822-91), 
the composer. * 

To the right as we quit Ste. Clotilde runs the Rue Las-Cases, No. 5 in 
which, near the other end, contains the Musee Social, founded by the Comte 
de Chainbrun (adm. daily, except Sun., 9-12 & 2-6). The object of the in- 
stitution is to place at the gratuitous disposition of the public, documents, 
models, plans, rules, constitutions, etc., of social institutions intended to 
ameliorate the position of the working classes. Lectures are often delivered 
here, and there are special meetings also. 

18. Hotel des Invalides. Champ- de-Mars. 

The MusiiE de i/Armee in the Hotel des Invalides is open to the public 
on Tues , Thurs., and Sun., 1-5 in summer, 12-4 in winter (Oct. 1st- 
March 31st); and the Tomb ok Napoleon on Mon., Tues., Thurs., Frid., 
and Sun., 12 <o 5 or 4. For the Salle d'Honneur, Salle de Lecture, and 
Gallerv of Relief- Plans, see p. 309. — The Hotel des Invalides is open 
daily 12-4. 

Mitropolitain (Lines 1 &2S), see Appx., pp. 29, 31. The Omnibuses AD, 
A H, and Y (Appx., p. 36) and the Tramways T J, T L, and TSll (Appx., 
pp. 38, 41), the River Steamers (Appx., p. 4b), and the Chemin de Fer des 
Invalides (p. 348) also pass near the Hotel. 

Dominating the mass of buildings to the W. of the Quartier St. 
Germain, and conspicuous from all sides, rise the gilded dome above 
the huge Hotel des Invalides, and the Eiffel Tower, to the N.W. of 
the Champ-de-Mars, opposite the Trocadero. 

The handsome Esplanade des Invalides (PI. R, 14; //, IT), about 
550 yds. in length and 270 yds. in width, embellished with several 
rows of elm-trees, lies between the Seine and the Hotel des In- 
valides. The Pont Alexandre III (p. 224) places it in direct com- 
munication with the Champs-Elysees. Near the bridge, up-stream, 
adjoining the Foreign Office (p. 300) is the Gare des Invalides (p. 32). 
— To the W. are the Pont des Invalides (p. 225) and the former 
Manufacture des Tabacs (p. 342). 

A railing separates the Place from the outer court of the Hotel des 
Invalides, which is now a garden enclosed on three sides by a dry 
moat. A 'Batterie Triomphale' placed behind the moat is used in 
firing salutes on grand occasions. There are also a howitzer and 
eleven non-mounted guns. 

Among the non- mounted pieces are eight Algerian guns with Arabic 
inscriptions; the two at the sides are respectively from China and Cochin 
China. The battery is composed as follows. On the right, as we face the 
Seine, two Austrian cannons, cast at Vienna in 1681 and 1580; four Prussian 
guns, captured from the Berlin arsenal by the Austrians in 1757, and 
brought by Napoleon from Vienna with 2333 other cannon; a Dutch piece, 
captured at the siege of Antwerp in 1832; a rifled cannon from Sebastopol 
(1856); a mortar from Algiers. — On the left: *Swivel-gun from Wurtein- 
berg, a masterpiece of its kind, skilfully carved, dating from the time of 




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Musee de I'Armee. INVALIDES. Left Bank 18. 303 

Duke Frederick (1593-1608); a Venetian piece, of 1708; the remaining 
dieces correspond exactly to those on the right side. 

The garden is adorned with a Statue of Prince Eugene de Beau- 
harnais (1781-1824), viceroy of Italy (1805-13), in hronze, by Du- 
mont, formerly in one of the boulevards. 

Some of the statues in the Square des Invalides, to the E. beyond the 
court may be noticed: Au ancestor (Brennus, the Gallic chief), bronze by 
Massoulle, and In defence of hearth and home, marble by Boisseau. — To 
theW., in the Square de Latour-Maubourg, the Age of Bronze, by Delhomme. 

The Hotel des Invalides (PI. R, 14; IV), the oldest institution 
of its kind, was founded by Louis XIV and built in 1670-75, by 
Liberal Bruant and J. H. Mansart. The dome is later (see p. 310). 
The establishment covers an area of about 30 acres, and was in- 
tended to accommodate 7000 inmates, but there are now only about 
50, as only soldiers absolutely incapacitated for work are now ad- 
mitted. Parts of the building have been devoted to other purposes; 
and in 1898 the headquarters of the governor of Paris were trans- 
ferred hither. 

The Facade of this vast edifice rises in three stories and is about 
220 yds. in length. At the principal entrance are an equestrian figure 
of Louis XIY in bas-relief, and statues of Mars and Minerva, in 
bronze, all by Coustou the Younger. In front of the wings are placed 
four groups in bronze, by Desjardins, emblematical of four conquered 
nations. These formerly belonged to the monument of Louis XIV in 
the Place des Victoires (p. 207). Above and in the dormer windows 
are various trophies in stone. 

The Cour d'Honneur, the first court, is enclosed with arcades, 
parts of which are adorned with paintings by B. Masson, representing 
scenes from the epochs of Charlemagne, St. Louis, Louis XIV, 
and Napoleon I. In the gallery on the right is a statue of General 
Daumesnil (p. 255). Opposite the entrance is the church (p. 309); 
on the right the Musee d'Artillerie ; on the left, the Musee Historique 
(p. 307), together forming the Musee de 1'Armee. To these will 
shortly be added the Musee de la Marine (p. 167). Changes in the 
rrangement of the exhibits are not infrequent. 

The *Musee d'Artillerie (admission, see p. 302) is a most com- 
plete and interesting collection (10,000 specimens) of weapons and 
armour of all kinds, both ancient and modern. 

Sticks and umbrellas must be given up (no fee). — The Catalogue 
(by L. Robert ; 1889-93) is in 5 vols. : 1 (A-F), Antique arms, 75 c. ; 2 (G-I), 
Defensive armour, helmets, shields, 1 fr. ; 8 (J-L), Arms of offence , steel 
weapons, etc., H/4 fr. ; 4 (M) Portable firearms, V-/\ fr. ; 5 (N-P; out of 
print), Artillery and miscellaneous objects, 75 c. Supplement (1901) by 
F. Bernadac, the present director, 50 c. Phototypes of some of the finest 
weapons and armour, 50 c. (apply to the keeper). — Explanatory labels 
are attached to the exhibits. 

The 1st Galerib des Armures, to the right of the main entrance, 
is decorated, like the following room, with mural paintings of mil- 
itary subjects from the time of Louis XIV, in the style of Van der 
Meulen. To the right is a collection of armour of the 15-17th cen- 



304 Left Bank IS. INVALIDES. t Musee 

turies, including several historical pieces. Opposite G 178-180. 
Italian armour for combats in the lists ; the suit in the middle he- 
longed to one of the Medici family; German jousting armour, includ- 
ing a tonlet-suit (G 182) for fighting on foot. Adjacent, G 167. 
Equestrian suit belonging to Maximilian II . — On the right side are 
historical suits of armour and a series of suits of German workman- 
ship, known as 'Maximiliennes' (grooved), of the first half of the 
16th century. — Above and on the walls are French flags and standards, 
originals to the right, copies to the left; the second on the left is 
the oritlamme or red banner of St. Denis, the ninth (white with 
fleurs de lys) the standard of Joan of Arc. — At the end of the saloon 
is a model of the Chateau of Pierrefonds. Behind, portraits of General 
Lariboisiere (d. 1812) and his son (d. 1812), by Oros. — In the middle, 
as we return, juvenile armour. — In the glass-cases are firearms, steel 
weapons, shields, helmets, etc. Some of these are beautifully orna- 
mented with precious stones, ivory, repousse work, engraving, chasing, 

inlaid work, damascening, etc. 

Case I (beginning at the end). M 37. Arquebuss belonging to Richelieu; 
M 1648. Germau pistol (17th cent.); H70. Wheel-lock arquebuss.— Case II. 
*M640 and 1752. Rifle and pistols made at Rotterdam i>J command of 
Napoleon I. for the Shereef of Morocco; M 17S1, 1713. Valuable pistols of 
the 18-19th centuries. — Case III. Swords and sabre (late 16th cent); G246. 
Gorget (17th cent.); German firearms (16-17th cent.); 159 (on tip other 
side), Italian rondache, or shield worn on parade, with the Triump'h of 
Galatea, after Raphael (16th cent.).; J 124. Italian sword; M 63. French 
arquebuss (16th cent.) — Case IV. L66. Flemish or German cross-bow adorn- 
ed with ivory carvings (ca. 15C0); gala shields and Italian shields of the 
16th cent. (Nos. *I 77, *I82); G599. Jousting chanfron (end of the 16th cent.). 
— Case V. M 35. Matchlock musket (1629); J 233 and 240. Spanish rap- 
iers; M S2. Wheel-lock arquebuss (l6-17th cent.); G608. Nose-band of a 
German bridle (16th cent.); G 93 (on the other side), Armour of the early 
17th cent.; H50 and H51. Jousting helmets ('Maximilian 1 style); H 263. Ger- 
man gala helmet (17th cent.); H 114. Chased and gilded helmet (16th cent.); 
M 202, 126. Wheel-lock musket and arquebuss (German). — Case VI. M 127, 
1619,1644. German wheel-lock petronel and pistols (16-17th cent.); M 362. 
German cross-bow 'a pied-de-biche' ; G 597 and (at the back) *G593. Cban- 
frons. the latter formerly in the possession of Philip II. of Spain. — Case VII. 
Fine French, Italian, and Spanish swords (16-17th cent.). — Case VIII. J 26. 
Sword of the Constable of France (end of the 15th cent.); M2135, 2136. Ger- 
man cartridge-boxes (late 16th cent.). — Table Cases IX-X. Daggers; hunt- 
ing weapons; sets of instruments. 

The 2nd Galerie des Armures, to the left of the main en- 
trance, contains a splendid collection of armour worn by horsemen 
and foot-soldiers, chiefly of the 15th and 16th centuries. In the 
glass-cases are pieces of armour and steel weapons and firearms of 
interest. Above hang foreign flags. — In the centre, among other 
suits of armour: in the second row, *G 38. German suit (16th cent.) ; 
*G 166. Jousting-armour of Maximilian I. ; G 40. Suit of a prince 
of Bavaria (1533); G 717. Saracen suit of the 16th cent. ; G 41. 
Another Bavarian suit (16th cent.) ; *G 117. Armour of Francis I. ; 
G 52 and 53 (at the sides), German armour of the 16th cent.; 
»G1 18-125. Armour of Henri II, Francis II., Charles IX, Henri III, 
Henri IV, Louis XIII (123 & 124), and Louis XIY; G 196. 



XArtiUerie. INVALIDES. Left Bank 18. 305 

Juvenile suit of Louis XIV(?); G 197. Suit of the Duke of Bur- 
gundy, grandson of Louis XIV. 

Case I. *G 118-121. Armour (g'lded or silvered) of Henri II and Lis 
three son?, Francis II, Charles IX, and Henri III. — Case II. *j 376-385. 
Swords of Francis I., Henri II, Charles IX, Henri IV (37 J, 380. Marriage- 
swords), Louis XIII, Louis XIV (382, 383), Louis XVI (coronation-sword), 
and the Dauphin Louis XVII ; H 143 and 93. Burgonet, helmet, and bras- 
sarts of Henri II; G249. Gorget of Louis XHI; H 280. Juvenile helmet of 
Louis XIV; K 50. Mace of Henri II; L 115. Cross-bow of Catherine de 
Medicis ; G 514, 657 , 425. Spurs, stirrups , and gauntlets of Louis XIV ; 
M 95, 36, 96. Muskets of Louis XIII ; M 410. Musket of Louis XIV. — Case III. 
*G51. Italian armour of the 16th cent., enriched with bas-reliefs of ad- 
mirable composition and execution; *I 62. Italian buckler; *H 254. Italian 
helmet in the antique style; ~J 95-97. Italian swords (16th cent.); *G 50. 
Italian armour, known as the 'armure aux lions 1 (16th cent.). — Case IV. 
*G75. Italian armour inlaid with gold and silver, attiibuted to King 
Frederick of Bohemia (16th cent.) ; G114. Armour embellished with gold, 
attiibuted to Prince Griinaldi of Monaco (17th cent.); G105. Armour with 
gold bands, of the lime of Louis XIII; H265. Barred helmet (17th cent); 
H153. Burgonet of the 16th cent.; i: 'G332. German cuirass (I7thcent.). 
— Case V. *H 184. Italian morion; other Italian helmets of the 16th cent.; 
G239. Gorget of the time of Henri IV; 17. Round shield of Matthew 
Corvinus, King of Hungary (d. 1490) ; K 58, 56. Maces (16th cent.) ; *J 112, 74, 
111. Italian shoulder-belts and girdle (16th cent.); J 119. Sabre of Stephen 
Bathory, King of Poland (d. 1586); K47, 49. Maces; *G 609. Nose-band 
of a bridle (1587). — Case VI. Italian helmets of the 16th cent., includ- 
ing *H149- Burgonet and *H 251. Helmet; H 261. Polish helmet; P 575. 
Hunting-horn (12th cent.); P 567. Handcuffs of the 16th cent.; J 390. Sabre 
of Stanislas Poniatowski (? d. 1798); J 389. Sword of Charles XII (d. 1718); 
186. Juvenile shield of the Duke of Burgundy, grandson of Louis XIV; 
M 367, 359. Wheel -lock muskets (German; 16th cent.); -.1361. German 
broad-sword with a wheel-lock pistol (16th cent.). — Case VII. Italian 
helmets and buckler (I 63) of the 16th cent.; powder-flasks, cartridge-boxes, 
etc. ; maces; German pistols, with the butts ending in balls ; German muskets. 

A Koom on the Right contains helmets and bucklers, coats- 
of-mail, hoots, etc. On stands in the centre: *H257. Helmet in 
the antique style ('a la chimere'); H 155, *H253. Italian helmets 
of the 16th cent.; *H 52. German jousting- helmet (16th cent.); 
H 14. Large German tournament-helmet. — A door at the end of 
the Salle des Armnres leads into a passage, beyond which are 
Three Rooms occupied by an interesting collection of small Mo- 
dels of Artillery. 

1st Room. Catapults and similar weapons ; primitive cannon ; artillery 
from the time of Louia XIV to 1732 ('Systeme Valliere'). — 2nd Room. 
Artillery from Louis XV to Louis XVI ('Systeme GribeauvaF). — 3rd 
Room. Artillery from 1801 to 1871. Beside the windows are models of 
foreign cannon. 

Returning to the vestibule, we follow the Corridor, to the left, 
leading to the Salle Orientale. Staircase to the 2nd floor, see p. 307. 

Salle Orientale. 1st Section : in the middle, to the right and left, 
steel weapons. Also a few firearms (M 2182, 2183, to the left, ele- 
gant Turkish rifles). 

2nd Section. Oriental and African weapons. 

Case to the Right. H 445, 460. Helmets of Bajazet II. (d. 1512) and 
Mongolian helmet; M2349. Gilt powder-flask with gems (17th cent.); J 1217, 
1223. Indian kuttars; J 1235. Cingalese sabre; J 1200, 1198, 1201. Indian 
poignards; J 1238, 1237. Javanese swords; J 1176, 1180, 1178. Swords of 

Baedeker. Paris. 16th Edit. 20 



306 Left Bank 18. INVALIDES. /. Musee 

Indian Mahommedans; J 1248, 1249. Malay creeses; bows and quivers. — 
Case to the Left. H 452, 451. Tartar and Russian helmets (16th cent.) ; 
J 1215, 1218, 1222. Hindoo kuttars ; J 1205. Indian dagger, the hilt enriched 
with jade and precious stones-, J 1048. Equipment of the grand-master of 
the seraglio; J 1173. Sabre of Indian Mahommedan ; J 1067, 1066. Khanjars 
from the Balkans. 

3rd Section. Glass Case to the right: models of Japanese armour. 
Glass Case to the left: Turkish rifles. G 738. Persian cuirass (16th 
cent.) ; H 456. Circassian helmet. — Case at the end : *G 749. War- 
costume of an emperor of China, captured in the Summer Palace 
(1860) ; J 1318. Poignard of European origin; K 1158, 1159, 948, 
949. Commander's batons, battle-axe, and a kind of halberd, also 
from the Chinese expedition of 1860. At the sides, Japanese armour. 

1st Galerie des Armes Blanches et Armes a Feu, to the right 
of the preceding. Weapons with wooden shafts, a collection of steel 
weapons from the 12th, and of firearms from the 15th to the 19th 
century. The most interesting objects are in glass-cases. To the 
left: firearms of the earliest types ; maces of the 15-16th cent. ; 
saddles and portions of harness. 

Cases with Firearms (M). To the left of the central partition: 
ornamental pistols of the 16-18th cent. ; those with the butt ending in a 
ball are nearly all German. On the partition, M 1765, 1766. Breechloading 
pistols (the former French). — Cases with Thkusting Weapons (K). Fuse- 
holders (607, 603); partisans (495, etc.); spontoons (567, etc.); 22. Battle- 
hammer (15th cent.); 84. Battle-axe of Edward IV. of England (d. 1483); 
halberds, including a German specimen with two pistols (262); *126. Italian 
halberd inlaid with gold and silver, with the arms of Cardinal Borghese 
(afterwards Pope Paul V.). 

2nd Galerie des Armes Blanches et Armes a Feu, beyond the 
Salle Orientale. This gallery contains pistols, modern rifles , and 
other firearms, besides a collection of cross-bows, some armour, and 
ancient thrusting weapons. On the left side are prehistoric weapons 
(some oasts and imitations); on the right side are ancient weapons, 
originals and models. 

Right Wall, near the entrance: 'grenadiers' 1 (M 721, etc.) used in the 
18th cent, for throwing grenades; siege-rifles (No. 431 can be fired 9 times). 
— Case to the left of the Partition. M 9, 5, 10. Match-lock muskets 
and petronel ; M 400, 416. Arquebusses and muskets of the 17th century. On 
the partition : M 1, 2. Firearms of the earliest kind , known as k esco- 
pettes 1 . — Case to the eight of the Partition. M 417. Large wheel-lock 
musket; wheel -lock arquebusses, chiefly German and mainly hunting- 
weapons of the kind known as 'a pied-de-biche 1 . 

Salle Moderne, at the end of the 2nd gallery. By the long wall 
on the right: modern helmets and military head-dresses; cabinet 
with specimens of French orders and military rewards; marshals' 
batons, decorations, etc. By the other walls : drums, kettle-drums, 
sappers' axes, etc. Case by the end-window : relief-medallions of 
Grouchy (1768-1847) and Kleber (1753-1800), by David. On the 
left side : saddles of Louis XYI (G 624), Charles X (G 626), etc. ; 
G 800 2 -800 5 . Sumptuous Mameluke saddles captured at the Battle 
of the Pyramids (1798). Case by the window to the right, at the 
end : swords of honour. 



d'ArtUlerie. INVALIDES. Left Bank 18. 307 

The remainder of the collection is placed nnder the gates and 
in the conrts on each side of the corridor mentioned at p. 305. — On 
the left is the Cottb, d'Angouleme : cannon of various calibres, in- 
cluding (on the right, N 239) a German piece dated 1523; N 49. 
Swivel-gun bearing the name of Pierre d'Aubusson (d. 1503); on 
the left, the Griffin, a culverin captured at Coblenz in 1797, cast in 
1528, and weighing nearly 13 tons. Bronze statue of J. B. Qribeau- 
val (1715-1769), first inspector-general of ordnance, by Bartholdi. 
By the wall here is a chain 190 yds. long, and 3!/ 2 tons in weight, 
used by the Turks at the siege of Vienna in 1683 for the purpose 
of strengthening a bridge-of-boats over the Danube. Under the 
carriage-entrance is a chain with fifty iron collars for prisoners, 
captured in the Moroccan camp after the battle of Isly in 1844. — 
On the other side is the Court de la Yictoire, containing modern 
cannon, models of naval cannon, a Russian gun and carriage from 
Sebastopol, and several cannon recovered in 1872 from Spanish 
galleons which foundered in the Bay of Vigo in 1702. Then, bronze 
and brass cannons, mortars, etc., bearing Annamite inscriptions and 
the emblem of the 'Roi Soleil' (Louis XIV), captured at Hue in 
1885 (probably the pieces presented by Louis XIV to the Annamite 
ambassador at Versailles). To the left, armour-plates pierced by 
cannon-shots. 

The staircase (p. 305) ascends to the rooms on the 2nd Floor. The four 
rooms on the left (Galeeie des Costdmes de Goekke) contain 72 models 
illustrating Warlike Accoutrements of prehistoric times, and of the Gauls, the 
Greeks, the Romans, and the French, from Charlemagne to the end of the 
18th century. The gallery on the right (Galerie Ethnographique) is 
occupied by an interesting collection of figures of savages in their war- 
costumes, representing types from Africa, America, Asia, and Oceania. 

The Musee Historique (adm., see p. 302), in the Cour d'Honneur 
(p. 303), opposite the Musee d'Artillerie, occupies the old mess- 
rooms on the groundfioor, which are decorated with muial paint- 
ings of the school of Van der Meulen, dating from the foundation of 
the Invalides, and the two corresponding galleries on the first floor. 

Ground Floor — Vestibule, where sticks and umbrellas must be given 
up (no fee). The ceiling is decorated with a remarkable curtain of em- 
broidered silk (the dragon worked in fine gold) taken from the tent of the 
Empress of China in 1900. 

Salle des Tkophees (originally the officers' mess-room; afterwards 
Salle de Turenne), to the right. The exhibits here illustrate the Ancient 
Regime, the 1st Republic, and the 1st Empire. Case to the right ; Souvenirs 
of Turenne, including the ball that killed him at Sasbach (1675). To the 
left is his portrait by Ph. de Champ aigne. To the left of the entrance. Bust 
of Lafayette (1757-1834), by Houdon. In the centre, Equestrian statue of 
Louis XIV, by B. Raggi (1830). On the walls are busts of French generals 
and marshals. — Right wall. Cases 1 & 2. Honorary weapons, including 
those of Generals Kellermann (1735-1820), Hoche (1768-97), and Augereau 
(1757-1816). Case 3. Prussian, Portuguese, and British flags captured in 
battle. Case 4. Souvenirs of Napoleon I. : sword, hat, the famous 'redingote 
grise', etc. Flags of the 1st Empire. Cases 5 & 6. Austrian, German, Brit- 
ish, and other flags; farther souvenirs of Napoleon. — At the end, pall 
that covered the car in which Napoleon s remains were transferred to 
the Invalides. In front, railings from Napoleon's tomb in St. Helena. — In 

20* 



308 Left Bank 18. INVALLDES. //. Musee 

the middle, Case 1 (as we return) : Portraits of Generals Cauibronne (1770- 
1842) and Poniatowski (1762-1813) ; terracotta portrait of Prince Eugene de 
Beauharnais (p. 303), by Chinard; souvenirs of La Tour d'Auvergne (p. 285); 
above, bronze statuette of Napoleon. Case 2. Portrait of Col. Claude de la 
Ronciere; guidons of the 16th regiment of dragoons (1791-1814). Then, 
bronze x-eproduction , i/b§ °f natural size, of the 'Colonne de la Grande 
Armee 1 (Vendome Column). Case 3. Swords of honour; medals of the 
'Ordre de la Reunion 1 (1811-15), commemorating the annexation of Holland, 
the Hanse Towns , Rome , and Tuscan y. Fine white marble bust of 
Napoleon. Case 4. G 625. Saddle of Napoleon. Case 5. Souvenirs of Mar- 
shals Lannes (p. 285), Ney (p. 245), Victor (p. 250); etc. Case 6. Souvenirs 
of the Revolution; American medal presented to Lafayette; on the other 
side, souvenirs of the monarchical period. — Left wall. Case 1 (as we 
return), Bust of General Joubert (1769-99) , in biscuit-porcelain. Case 2. 
Souvenirs of La Tour d'Auvergne (p. 285). Case 3. Busts and souvenirs 
of Viala (d. 1793) , killed at the age of 13, and Bara (d. 1794), killed at 
the age of 15. Case 4. Portraits, pistols, and swords of honour of various 
generals of the 1st. Empire. Case 5. Memorials of General Daumesnil 
(p. 255). Case 6. Uniforms of generals of the 1st Empire. 

Salle de Bordeaux (formerly Salle Loustaunau), to the left. Souvenirs 
of Napoleon I. To the right, his camp-bed and dressing-gown (from St. 
Helena); his armchair and model of his sarcophagus in St. Helena; his 
favourite bench in St. Helena. Portrait of Gen. de Montholon (1783-1853), 
who accompanied the emperor in his exile. Case with souvenirs of the 
Due de Reichstadt (1811-32), Napoleon's son. Case at the end, Flag and 
hat used by Napoleon in St. Helena. — 1st case next the windows : Hair 
and death-mask of Napoleon; cast of his hand; medals of Gen. Bertrand 
(p. 311). On the wall, Portrait of Roustan-Raza, mameluke attendant of 
the emperor. Case 2. Toys, portraits, and other relics of the Due de 
Reichstadt. Case 3. Mask of Napoleon, taken by his phvsician Antom- 
marchi (1780-1838) ; relics from St. Helena. — Case 4. Field-glass and 
lorgnette of Napoleon; hair of Josephine; autographs of Napoleon; bullet 
that wounded him at Ratisbon; etc. 

Salle Moncey. Uniforms from 1825-70, a collection bequeathed by 
the painter Loustaunau (1846-98). To the right, suit of armour with a 
medallion of Loustaunau. ■ — Salle Lawujstine (in preparation), to the left 
of the Salle Moncey, contains modern military costumes. 

Salle Bugeadd (originally the regimental mess-room). To the left of 
the entrance: relics, uniforms, flags, and weapons associated with the 
Algerian campaigns (1830-57) under General Bugeaud (1841-44) and other 
commanders; the sieges of Antwerp (1832) and of Rome (1849); the wars 
in the Crimea (1854-56), Italy (1859), China (i860), and Mexico (1862); and 
the Franco-German war (1870-71). In the centre are statuettes (e.g. Marshal 
Macmahon, by Crauk) and bus's of generals; also busts of Sergeant Hoff 
(p. 244), by Bartholdi, and of Gambetta. Then sketch of a proposed mon- 
ument to Gen. Faidherbe (1818-89), at Lille, by Mercie. A painting at the 
end, The empty cartridge-box, by De Neuville and DetaiUe, illustrates an 
episode in the siege of Strassburg (1870). 

Returning to the vestibule, we ascend the central staircase to the first floor. 
On the staircase, Alpine batteries, a painting by Loustaunau (see above). 

1st Floor. — Galekie des Regiments. Left Side (Galerie of Hautpoul) : 
Monarchical period, chiefly illustrated by drawings. ■ — Salle I. Kings who 
reigned before Louis XIII. By the windows, medals of kings and queens. 
— Salle II. Louis XIII and Louis XIV. In the middle, weapons ; to the 
right, a cannon of the period. — Salle III. Louis XIV. Plans of battles; 
case with weapons. — Salles IV- VI. Louis XV and Louis XVI. Similar 
exhibits. — Right Side (Galerie Louvois): First Republic and First Empire. • — 
Salle I (Revolution). Portraits, medals, etc. — Salle II (Republic; 1792-1800). 
Central Case. Army types from the Wiirtz-Pe'es Collection (see below). — 
Salle III and following rooms (Napoleon I.). In the centre, relief of the ruins 
of Saragossa; left, relief of the battle of Austerlitz; officers' 1 uniforms. — 
Salle IV. Central Case. Collection of army types 1805-1814, in coloured card- 
board cut out by M. Wiirtz-Pe'es of Strassburg. The collection includes 



Historique. INVALTDES. Left Bank 18. 309 

20,000 specimens, of which 8000 are shown in this case (on the left, Napoleon I. 
and his staff); to the left, coloured drawings of uniforms of the First Em- 
pire. — Salle V. Chiefly drawings by Raffet (d. 1840). Wiirtz-Pees collection 
continued. Medals and coins illustrating the career of Napoleon I. — 
Salle VI. Portrait of a French commander, by /. Landseer; Wiirtz-Pees 
collection continued; view of the prison of Norman Cross (England) where 
6000 Frenchmen were imprisoned for eleven years (until 1814); uniforms of 
the old guard; costume of a French officer who was confined on the hulks 
in England. 

2nd Floor. Left Side ( Galerie de La Tour d'Auvergne). Six rooms con- 
taining uniforms, arms, portraits, etc., illustrating the reigns of Louis XVIII, 
Charles X, and Louis-Philippe. In the 2nd, 3rd, and 6th rooms also are 
three reliefs : Troops bound for the Crimea marching past in the Place 
Vendome (1855); Duke of Orleans arriving at the Hotel de Ville (1830); 
Attempt on the life of Louis-Philippe (1835). By the window in the 6th 
room, British medals referring to wars in India, presented by Lord Curzon. 
— Right Side (Galerie d^Assas). Six rooms with figures representing spahis 
(Algeria), Meharists (Sahara), sepoys (India), and sharpshooters from Ma- 
dagascar, Tonkin, etc.; also tlags, arms, saddles, etc. from French colonies. 
Also, in the 2nd Room, Reliefs of the battles of Bouffarik (1840) and 
Mazagran (18i2); caftan of Abd-el-Kader (p. 356); memorials of Gen. Bu- 
geaud (1784-1849) and Marshal Pelissier (1794-1864). 3rd Room, Bust of 
the Due d'Aumale (p. 356), by Gerome. 4th Room, Bust of Gen. Faidherbe 
(1818-89); costumes and weapons of Soudanese chiefs (Samory and his 
son; 1896-99). 5th Room. Native weapons and caparisons from Mada- 
gascar (expedition of 1895-98). 6th B,oom. J 1317. Rich sabre of Gia-LoDg, 
emperor of Annam, found in a tomb near Hue (1885). In the centre, 
sketch-model for a monument to Admiral Courbet, by Falguiere; fine 
costumes. 

The folio-wing rooms are open only to visitors provided with 
special permits. 

Salle t/Honneur or Salle des Marechaux, situated on the 1st floor, 
above the entrance to the Cour d'Honneur (comp. the Plan). Permission 
to visit it may be obtained on written application (enclosing stamp for 
reply) to the General-directeur du Musee de TArmee. It is approached 
by the staircase (PI. J) to the right, at the beginning of the Corridor de 
Metz. This room, long used as a library, was restored to its original con- 
dition in 1905, when its fine panelling was once more revealed. Above the 
doors is the emblem of the 'Roi SoleiF (Louis XIV). To the right is a 
replica of David's painting of Napoleon on the St. Bernard (p. 362). To 
the left, Gros, General Lariboisiere (1759-1812) bidding adieu to his son 
before the battle of the Moscova, in which the latter was killed. Portraits 
and busts of mar3hals of the 1st Empire. 

The Corridor de Bayonne (comp. Plan), to the right as we leave 
staircase J, leads to the Cour de l'Infirmerie, behind which, on the left, 
is the Salle de Lecture et des Estampes (adm. as above), formerly the 
Salle St. Louis. To the right is the Library, embellished with old carved 
panelling. 

The Galerie des Plans-Reliefs des Places de Goerre, on the 4th 
floor (staircase K, to the left of the Corridor de Metz; comp. the Plan), is 
open 12-4 on Tues., Thurs., and Sun. in June and July only. Orders to 
view it (valid for 4 pers.) may be obtained on written application to the 
General-directeur du Service Geographique, Rue de Grenelle 140. This 
gallery, founded by Louvois, contains 75 relief-plans of fortresses, of the 
16-18th and beginning of the 19th cent., mostly on a scale of 1 :600. Sketch- 
ing and note-taking are strictly forbidden. 

The Cour d'Honneur is hounded on the S. hy the Eglise des 
Invalides. 

The Eglise St.Louis-des-Invalides was designed by Bruant, and 
built at the same time as the Hotel. It has galleries over the aisles 



310 Left Bank 18. TOMB OF NAPOLEON I. 

Banged in two rows above the nave are captured Flags, including 
Russian flags taken during the Crimean war (1854-56); Austrian colours 
captured in Italy (1859); Chinese (1857-60) and Mexican (1861-65) colours; 
and two German flags (1870). Tablets on the first pillars explain their 
origin. On 3Uth March, 1814, the evening before the entry ot the Allies 
into Paris, about 1500 flags, the victorious trophies of Louis XIV and 
Napoleon I., were burned in the court of the Invalides to prevent their 
falling into the hands of the enemy. A number of other flags were accident- 
ally burned during some funeral obsequies in 1851. — The monuments 
by the pillars commemorate former governors of the Hotel des Invalides, 
and marshals and officers interred ia the vaults of the church. — Behind 
the high-altar is a large window filled with modern stained glass, below 
which a door (generally closed) leads into the Dome. 

From the S.E. angle of the Cour d'Honneur, to the right as we quit 
the church, the long Corridor de Metz leads on the S. to the space 
in front of the Dome, which is separated from the Place Vaubari 
"(p. 311) "by a wrought iron railing. 

The *D6me des Invalides is a second or auxiliary church built 
by J. H. Mansart in 1693-1706 as a crowning feature of the entire 
structure, and as an 'Eglise Royale' where the king and his court 
could attend divine service. The church is a square pile, 198 ft. in 
breadth, surmounted by a circular tower with twelve windows and 
a lofty dome, above which rise a lantern and cross, 344 ft. in height. 
The dome, completed in 1735, is partly gilded, and embellished 
with reliefs representing military tTophies. The principal entrance 
is on the S. side (adm., see p. 302). 

The centre of the interior is occupied by an open circular crypt 
in which is the tomb of Napoleon. In the middle of each of the four 
walls of the church is an elliptical apse, while the angles of the rect- 
angle are occupied by round chapels , raised a little above the am- 
bulatory that unites them. In the apses on the right and left are 
tombs of marshals of Louis XIV, and in the anterior round chapels 
are sarcophagi of members of Napoleon's family. Above the central 
crypt rises the dome, supported by four piers, the massive structure 
of which is relieved by passages and columns. The drum is adorned 
with a broad decorative frieze, with twelve medallions of French 
kings, above which are as many large windows. The dome proper 
consists of two sections. The first of these is divided into twelve 
compartments, painted with figures of the Apostles by Jouvenet. 
Through the opening in the middle the upper section is seen, adorned 
with a large composition by Ch. de Lafosse : St. Louis offering to Christ 
the sword with which he had vanquished the foes of Christianity. 
This second cupola is lighted from above, but the sky-lights aie not 
visible. The Evangelists in the spandrels are also by De Lafosse ; 
the paintings above the high altar, by N. Coypel. The outer casing 
of the dome is of woodwork covered with lead. 

The *Tomb of Napoleon I., constructed in 1843-53 from designs 
by Visconti the Younger, is directly under the dome. It consists of an 
open circular crypt 20 ft. in depth and 36 ft. in diameter. In the 
middle is the sarcophagus of the emperor, who was born at Ajaccio 



PLAGE VAUBAN. Left Bank 18. 3H 

in 176.9, and who died at St. Helena in 1821. His remains were 
brought to Paris in 1840. The sarcophagus, which measures 13 ft. 
by 6V2 ft-> ^ith a depth of M 1 /^ ft., was hewn out of a single block of 
Siberian porphyry. On the mosaic pavement, which represents a 
wreath of laurels, are inscribed the names of battles (Rivoli, Pyramids, 
Marengo, Austerlitz, Jena, Friedland, Wagram, and Moscova). The 
twelve colossal figures surrounding the crypt, and symbolising the 
principal Napoleonic victories, are by Pradier- the twelve marble 
reliefs are by Simart. The six trophies consist of sixty flags captured 
in battle. The faint, bluish light admitted from above serves to 
enhance the solemn grandeur of the scene. 

The entrance to the crypt (closed) is at the hack of the high-altar. 
It is flanked hy two colossal statues in hronze hy Buret, one hearing a 
glohe, the other a sceptre and crown. Above the entrance are these words 
from the emperor's will: 'Je desire que mes cendres reposent sur lea 
hords de la Seine, an milieu de ce peuple francais que j'ai tant aime"\ On 
the other side are two sarcophagi, hearing the names of Duroc (1772-1813) 
and Bertrand (1773-1814), the emperor's faithful friends, the latter even 
sharing his captivity at St. Helena. 

The two Chapels on either side of the crypt contain monuments of 
the marshals of Louis XIV : Henri de La Tour d^Auvergne, Vicomte de Turerme 
(1611-75); his statue in marble (by Tuby and Marsy) was brought from 
St. Denis ; the bronze relief represents the battle of Durkheim (1675). 
Sdbastien le Prestre de Vauban (1633-1707), the famous military engineer, 
with a statue by Etex (1847). — The Chapels at the corners are sur- 
mounted by domes painted by B. and L. Boullongne and M. Corneille. 
The chapel on the right contains the sarcophagus of Joseph Bonaparte 
(1768-1644), King of Spain ; that on the left (nearer the entrance), that of 
Jbrome Bonaparte (17<54-1860), King of Westphalia, with his statue by 
E. Guillaume; here also are a smaller sarcophagus with the ashes of his 
eldest son, and another in which the heart of his wife is preserved. 



In front of the Dome, to the right, is the new building of the 
Pharmacie Centrale de VArmee, constructed in the 17th cent, style. 
— From the Place Vauban (PI. R, 13; IV), which is also in front 
of the Dome, the Avenue de Breteuil leads on the S. to the Place de 
Breteuil, where a Monument of Pasteur (p. 335), by Falguiere, was 
erected in 1904. Pasteur is seated, surrounded by figures of grateful 
human beings aud animals. The Avenue de Breteuil ends at the 
beginning of the Boulevard Pasteur {Avenue de Suffren Station on 
the Metro, see Appx., p. 31). 

To the E., at the intersection of the Avenue de Villars and the Boulevard 
des Invalides, is the church of St. Franpois-Xavier, erected in 1861-75 by 
Lusson and TJchard. It is adorned with mural paintings by Lameire, E. De- 
launay, Cazes, and Bouguereau, a Virgin by Bonassieux, and stained glass 
by Mare"chal. The arrangement of the- interior is somewhat peculiar. 

The Rue Monsieur (PI. E, 13-, IV), to the E. of this church, contains, 
at No. 12, the former Hotel des Archives de TOrdre de St. Lazare, built by 
Brongniart. In the court are four reliefs by Clodion. 

At the end of the Boulevard des Invalides, on the right , is the Blind 
Asylum, or Institution des Jeunes Aveugles (PI. B, 13, IV; admission by 
permission of the director, except during the vacation in Aug. and Sept.). 
This handsome edifice was erected in 1839-43. The relief in the tympanum, 
hy Jouffroy, represents Valentin Haiiy (d. 1822), founder of the institution 
(the oldest of its kind), instructing his pupils under the protection of 



312 Left Bank IS. CHAMP-DE-MARS. 

Religion. In the court also is placed a statue of Haiiy. — The asylum 
contains the Musie Haiiy (adm. on Wed., 2-4 or 5), containing articles 
manufactured by or for the use of the blind. — The large Convent des 
Oiseaux (PI. R, 13; IV), opposite, formerly belonged to the sculptor Pigalle, 
who had the walls decorated with paintings of birds (no adm.). 

The Boulevard du Montparnasse, which continues the Boul. des In- 
valides, is crossed a little farther on by the Rue du Cherche-Midi (PI. G, R, 
13, 16; IV), which contains (at No. 19) a sign of the 18th cent, representing 
an astronomer tracing a sun-dial, with the inscription 'Au Cherche-midi\ 
At No. 87 lived Marshal Lefebvre (p. 245). No. 37 is the seat of the Conseil 
de Guerre (PI. R, 16; IV), installed in the 18th cent. Hotel de Toulouse-Lautrec. 
4- To the right is the Rue du Regard, with the Mont-de-Pittt (No. 15). 

The Ecole Militaire (PI. R, 10 ; i), which is reached from the 
Place Vauban (p. 311) hy following the Avenue de Tourville to the 
W. and then fhe Ay. de Lowendal to the left, is an imposing edifice 
(1751-82) by Gabriel. The school was founded in 1751 by Louis XV, 
'pour y elever cinq cents gentilshommes dans toutes les sciences 
ne'cessaires et convenables a un officier'. In 1792 it was converted 
into barracks, and in 1855 it was enlarged by the addition of two 
wings ; the Ecole Superieure de Guerre , a training institution for 
officers founded in 1878, was afterwards installed there. The build- 
ing covers an area of 26 acres. The S.E. facade looks on to the Place 
Fontenoy, containing a monument for 1871, in the form of a pyramid. 
The fayade on the N.W. side possesses a Corinthian portico of eight 
fluted columns, 43 ft. in height, surmounted by a quadrangular dome. 

The Ecole Militaire is bounded on the S.W. by the Avenue de 
Suffren, which extends on the S.E. to the Boulevard Pasteur (Metro, 
see p. 32) and on the N.W. to the Quai d'Orsay (p. 313), passing 
the Giant Wheel (PI. R, 10, /; p. 43), 325 ft. in height, erected for 
the Universal Exhibition of 1900. 

Farther to the S.W. are the Boulevards de Grenelle and de Gari- 
baldi (PI. R, 7, 10, 13 ; /), uniting the Quai de Grenelle (p. 314) with 
the Boulevard Pasteur (see above). These boulevards are traversed 
throughout by the viaducts of Line 2S of the Metropolitain (see 
Appx., pp. 31, 32). 

The Champ-de-Mars (PI. R, 8, 10, 11 ; 2), which is 1100 yds. 
in length and 550 yds. in width, was laid out about 1770 for the 
Ecole Militaire and was used for military manoeuvres. The ground 
was occupied by the Exhibitions of 1867, 1878, 1889, and 1900. 

The former Galerie des Machines, a survival of the 1889 and 1900 
Exhibitions, which it is now proposed to demolish , is a huge hall 
450 yds. long, 165 yds. broad, and 160 ft. high, designed by F. 
Dutert and Contamin. — A project is on foot for converting the 
Champ-de-Mars into a park surrounded on all sides with buildings. 

On July 14th, 1790, the Fete de la Fidiraiion was celebrated in the 
Champ-de-Mars. In front of the licole Militaire was erected the Autel de 
la Patrie , where the king, the national assembly, and the representatives 
of the army and the provinces, swore fidelity to the new constitution. 
Talleyrand, Bishop of Autun, with 400 of the clergy, officiated in the 
religious part of the ceremony. In 1793 the aged Bailly , the first mayor 
of Paris, was led to his execution here on a chilly morning in November. 



EIFFEL TOWER. Left Bank 18. 313 

On being told that he was trembling, he retorted 'Oui, mon ami, mais 
c'est de froid 1 . Another festival, the famous Champ de Mai, was celebrated 
here b} Napoleon on June 1st, 1815. Here too, in August, 1830, Louis 
Philippe presented colours to the National Guard, and in 1852 Napoleon III. 
distributed to the army the eagles which were to replace the Gallic cock. 

The *Eiffel Tower {Tour Eiffel; PL R, 11, 7), or Tour de Trots 
Cents Metres, close to the Seine and opposite the Trocade'ro, was 
built by Eiffel in 1887-89. It is visible from every point in Paris 
and the environs. This enormous structure is the loftiest mon- 
ument in the world, attaining a height of 984 ft., or not far short 
of twice the height (555 ft.) of the Washington Column at Wash- 
ington (Mole Antonelliana at Turin 545 ft., tower of Ulm cath- 
edral 528 ft., Cologne 515 ft., Rouen 495 ft., Great Pyramid 451 ft., 
St. Paul's in London 404 ft.). — The base, resting on four massive 
piers of masonry, the foundations of which are sunk to a depth of 
46 ft. on the side next the Seine, and 29Y2 ft. on the other side, 
forms a quadrangle 141 yds. square (Great Pyramid, 250 yds.). The 
girders which stay the structure of interlaced iron-work are hollow. 
The four uprights have an initial inclination of 54°, and beneath 
the first platform are united with each other by round spans. Above 
the First Platform, which is 190 ft. above the ground and is over 
71 yds. square, the four uprights are still distinct, but they gradually 
approach each other as they ascend, and finally coalesce into a single 
shaft at a height of about 590 ft. ■ — The Second Platform is placed 
at a height of 380 ft. At 680 ft. is a kind of landing-place or floor. 
Even as it approaches the top the tower is 33 ft. square. — The 
Third Platform, at the foot of the double lantern which terminates 
the tower, 905 ft. from the ground, supports a glass pavilion, 54 ft. 
square, capable of holding 800 people. The Lantern rises 79 ft. higher. 
A staircase ascends within it to a circular balcony, 19 ft. in diameter, 
above which again is the electric light, which is seen at night for a 
distance of 45 miles. 

The Ascent of the tower is recommended only in clear weather, when 
it is neither cold nor windy. The tower is open daily from 10 a.m. till 
dusk, from March to November (in winter, see below). Visitors ascend to 
the second platform (where they change lifts) by staircases or lifts (atcen- 
teurt); beyond that by the lift alone. The staircases (350 steps to the first 
floor, 380 to the second) are in the W. and E. legs of the tower, or the 
first on the right and the second on the left as we come from the Seine. 
The Charge is the same for the staircases or lifts : to each of the platforms 
1 fr. (i.e. in all 3 fr.) ; on Sun. and holidays 1 fr. to the first, i/ 2 fr. to the 
second and third (2 fr. in all). — The terrace of the 4th story is open to 
the public on Sun., Mon., Wed., and Thursday. — In winter visitors are 
allowed to ascend the staircases to the first two platforms, daily from 12 
till 4 (1 fr.). — Restaurant (dej. 4 fr. incl. wine or a la carte) and Theatre 
(seats 2-5 fr.) on the first platform, which is open till 11 p.m. from June 
1st to the end of August. Bars, shops, etc. on the second and third platforms. 

The * View from the top is very extensive, and may range in certain 
directions 55 M. in a direct line- To the S.W., for example, we may see 
as far as Chartres, to the N.E. as far as Villers-Cotterets. The view from 
the first two platforms is bounded by the hills surrounding Paris. 

In front of the tower is the Quai d'Orsay, below which extends 
the immense Port des Cygnes, and from which the Pont d'lena crosses 



314 Left Bank 19. THE LUXEMBOURG. Palais. 

to the Trocade'ro (p. 230). On the left are the Station du Champ- 
de-Mars (PI. R, 8, I; see p. 233) and, behind, the Quai de Grenelle 
(station of the Metropolitain, see Appx., p. 31). For the bridges 
of Passy, see p. 233. 

19. Palace and Galleries of the Luxembourg. 

The Luxembourg Gallery is open daily, except Mondays and the chief 
holidays (p. 64), in summer 9-5 o'clock ; in winter (Oct. Ist-March 31st) 
and on Sundays and ordinary holidays 10-4 only. It is closed about the 
end or beginning of the year for cleaning and re-arrangement. 

Marie de Medicis, widow of Henri IV, having purchased in 1612 
the chateau and grounds of the Due de Piney-Luxembourg, com- 
missioned three years later the architect Salomon Debrosse to build 
her a large new palace. This was called the Palais du Luxembourg 
(PI. R, 19; IV), the name of the original owner being retained. In 
the employment of rustica pilasters and in the treatment of the 
court it bears some resemblance to the Pitti Palace at Florence, 
Marie's ancestral home, but at the same time it preserves an un- 
mistakably French character, especially in the corner-pavilions with 
their lofty roofs. The principal facade, nearly 100 yds. long, which 
notwithstanding many restorations still reveals the original design, 
looks towards the Rue de Vaugirard on the N. side, opposite the Rue 
de Tournon. Important alterations were made by Chalgrin in 1804, 
by order of Napoleon I., who installed his Senate in this palace. The 
facade towards the garden, formerly similar to the principal front, 
was restored in 1836-44 by A. de Oisors, who adhered as far as 
possible to the style of the original building. After 1815 the palace 
was occupied by the Chamber of Peers, then, under Napoleon HI., 
by the Senate. Since 1879 it has been the seat of the latter body, 
and is known as the Palais du Senat. 

Prior to the Revolution the palace was inhabited by various princes 
and princesses. Converted into a prison under the Convention, it harboured 
many distinguished victims, including Marshal de Noailles, wbo was be- 
headed, together with his wife, at the age of 79, the Vicomte de Beau- 
harnais and his wife Josephine (afterwards Empress of the French), Hebert, 
David, Danton, Camille Desmoulins, and the poet Fabre d'Eglantine. In 
1795 it became the Palais Directorial ; then, in 1799, the Palais du Consulat, 
until Bonaparte made the Tuileries his residence, in 1800. 

The palace, or at least a portion of it, is open, except during the 
sittings of the senate, to visitors provided with tickets, which may be 
obtained on application by letter (enclose stamp for reply) to M. le Questeur 
du S^nat. Special tickets are necessary for admission to the sittings of the 
senate. — 'Le Luxembourg 1 (1905; 1 fr. 25 c), a short printed description 
by A. Hustin, Secretaire de la Questure du Senat, may be purchased in 
the vestiaire, to the right of the entrance, Rue de Vaugirard 

On the right and left of the Cook d'Honneur are statues of Montes- 
quieu and Pasquier by Foyatier and Nanteuil. — In the Vestibule, on the 
right, the Guardian Angel, by Eusson. 

First Floor. The dome of the Librabt (no adm.) is adorned with fine 
paintings by Engine Delacroix (1847), representing the infernal regions ac- 
cording to Dante. — The Salle des Seances contains 300 seats for the 
senators and 800 for the public. The colonnade is adorned with statues of 



Palais. THE LUXEMBOURG. Left Bank 19. 315 

Turgot (d. 1781), d'Aguesseau (d. 1751), L'Hopital (d. 1573), Colbert (d. 1683), 
Mole (d. 1855), Malesherbes (d. 1794), and Portalis (d. 1855). On each side 
of the president's seat is a painting by Blondel: the Peers offering the crown 
to Philippe le Long, and the Estates of Tours conferring on Louis XII the 
title of 'father of the people'. At the beginning of the larger semicircle is a 
statue of Charlemagne, by Etex, and one of St. Louis, by Dumont. — The 
Galerie des Bostes contains busts of former peers and senators. — In the 
Salle d'Attente are three views of the Luxembourg garden by Victor Marec 
(1906). — Bovette (refreshment-room; formerly the bedroom and 'cabinet 
dore' of Marie de Me'dicis). Paintings: Cabanel, Richelieu and Louis XIII; 
Caminade, The Chancellor de L'Hopital (see p. 264) returning the seals to 
Charles IX; Vinchon, Achille de Harlay rejecting the proposals of the Due 
de Guise; Champmartin , Charlemagne; H. Flandrin, St. Louis; A. Hesse, 
Louis XIV; Becaisne, Allegorical ceiling-paintings. — The Salle des Pas- 
Perdus or des Conferences, formerly the throne-room, was completed in 
1856 and is handsomely decorated in the Louis XIV style. On the vaulting, 
in the centre, the Apotheosis of Napoleon I. \>jAlaux; at the sides, Peace 
and War, by Brune ; at the ends, the Apotheosis of the kings of France, by 
Lehmann. Handsome chimneypiece of 1880 where the throne once stood. 
On one of the panels, Daphne, in Gobelins tapestry, after Albert Maignan 
(1905). — Salon Romain or des Tapisseries Views of Rome (painted 
on cloth in grisaille). — Salle des Commissions. Ceiling -paintings by 
E. Scheffer, Jadin, and Picot. — Escalier d'Honneur. Twelve Gobelins and 
Beauvais tapestries. — Salon de Jeanne Hachette. Statue of Jeanne Ha- 
chette, the heroine of Beauvais, by Bonassieux. — Bureaux de Commission. 
L. 0. Merson, Design for stained glass; Chavet, Woman asleep; modern 
pictures, from the Luxembourg Gallery, by E. Buez, A. de Neuville, H. 
Leroux, and others. In the E. wing is the Grande Galerie or Galerie 
Est, for which Bubens painted his series of scenes from the life of Marie 
de Medicis (p. 132). The ceiling is adorned with an Aurora by Callet 
and the Signs of the Zodiac by Jordaens (pupil of Rubens). 

Descending to the groundfloor, we visit, in the W. part of the palace, 
the Salle du Livre d'Ur (wrongly called the Salle de Marie de Me'dicis), 
in wbich was kept the 'livre d'or', containing the names of the members 
of reigning families. This room consists of a gallery adorned with medal- 
lions attributed to Rubens's pupils, Van Thulden and Van Euden, and a 
room ornamented with arabesques with figures by Giovanni da Udine(f). 
The two ceiling-paintings (Apotheosis of Marie de Medicis, and the Queen 
establishing peace in France) are attributed to Van den Eoecke or to Jean 
Mosnier. — The Chapel, restored in 1892, is richly decorated with paint- 
ings by Gigoux (titles given); behind the altar are the Twenty-four Elders 
of the Apocalypse, by Abel de Pujol; under the organ, a Group of Angels, 
by Jaley. 

To the W. of the palace is a wing known as the Petit-Luxem- 
bourg (PI. R, 19; IV), originally the residence of Richelieu in 1622, 
now that of the president of the senate. The pretty Chapel, adjacent, 
was built in 1622-31 and belonged originally to the nunnery of 
the Fil'es du Calvaire. 

The *Musee du Luxembourg (PI. R, 19; IV), a collection of 
Works of Contemporary Artists, consisting chiefly of paintings and 
sculptures, occupies the former Orangery, altered and enlarged, to 
the W. of the Petit - Luxembourg. The works exhibited at the 
Luxembourg are generally transferred to the Louvre, or sent to pro- 
vincial galleries, about ten years after the death of the artists, so 
that a comprehensive survey of modern French art cannot be obtain- 
ed in one place. It is proposed to transfer the collections to the 
former Seminaire de St. Sulpice (p. 296), while a number of the older 



316 Left Bank 19. THE LUXEMBOURG. Musee: 

works are shortly to be removed to the Louvre. Changes in the 
arrangement of the works are also frequent, so that to prevent con- 
fusion we shall enumerate the most important of them in the alpha- 
betical order of the names of the artists. Each work bears the name 
of the artist! 

Admission, see p. 314. Parcels must be left at the vestiaire. Cata- 
logue (antiquated), 75 c, illustrated 4V2 fr. •, the 'Musee du Luxembourg 1 
(illustrated), with preface by M. Leonce Be'nedite, the present curator, l^lr. 

At the' foot of the staircase: to the right, Orpheus charming Cer- 
berus to sleep ; to the left, Judith, bronzes by Peinte and Aizelin. 
At the sides: to the right, Pardon, by E. Dubois; Child, by 
Roger - Bloche ; The people weep for him, by J. van Biesbroeck; 
Blind children, by H. Lefebvre (marble); Danish boar-hound, by 
Lami; to the left, Vulture on the head of a sphinx, by Cain; Fire- 
damp explosion, by H. Greber; Hero and Leander, by Gasq; Naiad, 
by A. Vermare; Cold, by Roger-Bloche; Wounded dog, by Fremiti. 
The pediment-gioup is by Crauk. 

Small vestibule. Right, H. Cros, Story of water, executed in 
vitreous paste; above, M. LeLiepvre, March sun. Left, below, H. Thie- 
baut, The Sea, bronze vase; above, G. Rochegrosse, Flower-decked 
knight. 

Most of the sculptures are in the long gallery (PI. A), which we 
enter first, and in the central room of the W. annexe (PL B), but 
there are some scattered through the rooms containing the paintings 
(PI. 1-11, C, and D). 

Sculptures. 

A. — Aizelin (E.), Hagar andlshmael. Allar, Death of Alcestis. 
Allouard (H.), Far from the world, coloured marble; Fulah woman, 
small bronze cast by the 'cire perdue' process; Fishing, vase of 
bronze, ivory, and jade. Astruc (Z.) J Bust of Barbey dAurevilly 
(1811-1889), the novelist, bronze. Aube (P.J, France and Russia, 
chiefly silver. 

B. — Barrias (E.), Young girl of Megara; Nature revealing her- 
self, coloured marble ; Mozart, bronze. Bariholome (P. A.), Little girl 
crying, bronze. Becquet (J.), Ishmael; St. Sebastian; Joseph in 
Egypt. BcnUiure-y-GU, 'Primer tumbo' (picador and bull), small 
bronze. Bernstamm (L.), Bust of the painter J. L. Gerome, Coque- 
lin the Younger (in the 'Maladelmaginaire'), two bronzes. Bloch(AJ. 
Martyr (wood); Bust of a man (wood). Boisseau(E.), Diogenes (with 
the figure of a child in relief, and a classical inscription). Bouchtr 
(Alfred), Rest; In the fields. Bourdelle (A. E.), Bronze head of 
Beethoven. 

C. -— Carlls (A.), Youth; Abel. Carlier (E. J.), Gilliat seized 
by the octopus (Victor Hugo). Carries(J.), Bronze head of Charles I. 
Cazin (Ch.), Sailor's wife, bronze. Cazin (Mme. Marie), Girls; Da- 
vid, bronze. Chapu (H.J, Joan of Arc at Domremy. Charpentier (FJ, 



Sculptures. 



THE LUXEMBOURG. Left Rank 19. 317 



Illusion; Narcissus. Christophe(E.), The supreme kiss. CordierfCh.), 
Busts of a negro and negress. Cordier (H~), Bull. Cordonnier (A.), 
Homeless. Coutan (J.), Cupid. Crauk (GJ, Youth and Love. 

D. — Dagonet, Eve. Dalou(J.) : Peasant, bronze. Dampt, St. John ; 
Grandmother's kiss. Delaplanche (E.), Eve before the Fall; Yirgin 
with the lily; Dawn; Bust of a woman. Desbois (J.), Leda. Dubois 
(P.), Infant St. John, bronze; Narcissus; Flo- 
rentine singer of the 15th cent., in silvered 
bronze. 

F. — Falguiere (A.), Tarcisius the martyr; 
The victor in a cock-fight, bronze ; Bust of Ba- 
roness Daumesnil. Franceschi (J.), Fortune. 
Fremiet (EJ, Pan with bear-cubs. 

G: — Gardet (G.), Panthers. Gautherin 
(J.), Female bust. Gerome (J. L.), Tanagra, 
coloured marble; Sarah Bernhardt, coloured 
marble ; Bonaparte, bronze - gilt. Greber '(H.), 
Fremiet, statuette with medallion of his Joan of 
Arc; J. L. Gerome, statuette. Guillaume (E.), 
Anacreon; The Gracchi, bronze; Archbp.Darboy. 

H. — Hannaux 
r-^t (E.), Death of Or- 
pheus; The poet 
and the siren. Hiolle 
(E.E.), Arion seat- 
ed on the dolphin. 
Hugues (Jean), CK- 

L_ _ji metres ^^ &t Colonog 

Idrac (A.), Mercury inventing thecaduceus; Salammbo 




J^Li 



ID 



« 6 



4 



Jaxdin du Luxembourg 



I. 



(from Flaubert). Injalbert (A.), Hippomenes, bronze ; Female faun 
with a bagpipe. Iselin (H. F.J, Bust of President Boileau. Itasse, 
Bust of Belloc, the painter. 

L. — Lanson (A.), Age of iron. Lanteri, English peasant, bronze. 
Larche (R.), Violets. Lecourtier (P.J, Danish boar-hound with pups. 
Legros (A.), Female torso and female mask, bronze. Lemaire (H.), 
Morning. Lenoir (A.), St. John; Young woman. Leonard (A.), 
Adolescence. Leroux (Et.J, Girl selling violets, bronze. Longepied, 
Immortality. 

M. — Marqueste (L.), Cupid; Galatea; Perseus wrestling with 
the Gorgon. Massoule (P.AJ, Na'iad. Mercie (A.), David, bronze; 
Souvenir. Meunier (C. ; of Brussels), Industry ; Puddlers; Son of the 
soil (bas-reliefs in bronze); Hammerer; AVharf-porter (small bronzes). 
Michel (G.), Dreaming; La Pensee. Moreau (Math.), Spinning. 
Moreau-Vauthier (A.), Bacchante ; Gallia (see p. 318). Moulin (HJ, 
A Pompeian discovery, bronze. 

N. — Navellier (E.), He passes! (elephant and pelican), Old 
stag on the alert, small bronzes. 



318 Left Bank 19. THE LUXEMBOURG. Muse'e: 

0. — Oliva (J. B.J, Bust of a priest. 

P. — Paillet (Ch.), Two friends (monkey and dog). Peter (V.), 
Bear-cubs at play ; Two friends (Arab and his horse). Peynot(E. E.J, 
'Pro Patria'. Puech (D.J, Siren ; Muse of Andre* Che*nier (beheaded 
during the Revolution). 

E. — Riviere (Th.J, Two sorrows; 'Ultimum feriens', small 
group in marble and bronze ; Salammbo at the house of Matho, small 
group in bronze and ivory. Rodin (A.J, Bust of a woman; Danai'd ; 
La Pensee ; The kiss, large group in marble ; St. John, Busts of the 
painters Puvis de Chavannes and J. P. Laurens, Age of bronze, Old 
boat- woman, five bronzes. 

S. — St. Gaudens, 'Amor-Caritas', bronze high-relief. St. Mar- 
ceaux (R. de), Youth of Dante ; Genius guarding the secret of the 
tomb. Salmson (Jean Jules J, Skein-winder, bronze. Samuel (Ch. J, 
Bust of Charles Hayem, the ait-connoisseur. Schnegg (L.J, Venus. 
Sicard (Fr.), (Edipus, small bronze. 

T. — Theunissen (C.J, Portrait-bust in wood of Harpiguies, the 
landscape-painter. Thomas (J.J, Virgil; Youth, bronze. Trou- 
betsko'i (Paul), Equestrian portrait of Count Tolstoi', small bronze. 
Turcan (J.J, The blind and the lame. 

V. — Vallgren (V.), Misery, small bronze. Verlet (Ch.), Child's 
head; Portrait. Vernhes (H.J, Breton girl, Girl, wax busts. 

The sculpture - gallery , the first room of the picture - gallery 
(p. 319), and the side rooms (see below) contain (in glass-cases) a 
highly interesting *Collection of modern medals, by Chaplain, Roty, 
Daniel Dupuis, J. E. Roine, Dubois, and others ; fayence and pottery 
by Bigot, Carries, Chaplet, Dalpeyrat, Delaherche, Massier, and 
others; Sevres porcelain ; glass by Galle, Koepping, Leveille, and 
Tiffany ; enamels by Thesmar ; objects in pewter by Brateau, Char- 
pentier, Desbois, and others ; and several cameos. Here also are nine 
pieces of ancient Gobelins tapestry representing some of the national 
palaces, an Audience, and the Coronation of Louis XIV, and a bust 
of Gallia, in ivory, gold, and silver, with topazes, by Moreau-Vau- 
thier (goldsmith's work by Falize). At the end of the hall, to the 
right: Moreau ((?.; p. 322), Siren and Poet, designed for the Gobe- 
lins; the finished tapestry hangs beside it. 

In the "W. annexe are two small rooms. That to the right (PI. C) 
contains the Caillebotte Bequest, a collection of pictures of the 
Impressionist School. Caillebotte (Men planing a floor; Snow- 
effect); Mary Cassatt (Mother and Child); Cezanne (The stake); 
Degas (two Dancers, on and off the stage; Cafe in the Boulevard 
Montmartre, etc.); Manet (Balcony, etc.); Monet (Luncheon; Gare 
St. Lazare; Hoar-frost; Interior; Church of Vetheuil, etc.); Berthe 
Morizot (Young woman at a ball); Pissarro (Landscapes); Raffaelli 
(Convalescent; Waiting for the bride; Notre-Dame); Renoir (Moulin 
de la Galette; Girls playing the piano; Girl in sunlight; Swing, 
etc.); Sisley (Landscapes); H. de Toulouse-Lautrec (Female study). 



Paintings. THE LUXEMBOURG. Left Bank 19. 319 

The room to the left (PI. D) is devoted to the works of Foreign 
Painters, hut only part of the collection is exhibited at a time. 
The following are the most important: Achenbach (0.), Environs of 
Naples; Alexander, Portrait; Baertsoen, Old Flemish canal; Bale- 
strieri (L.), Reading ; Bashkirtseff (Marie), The Meeting, Portraits 
(pastel); Baud-Bovy (Geneva), Serene sky; Borchardt (FJ, Por- 
trait; Brangwyn {Frank; English), A trade on the beach; Breslau 
(Louise Cath.J, Girls; Burnand, The disciples Peter and John 
hastening to the sepulchre; Chialiva (L.), Goosegirl ; Claus, Sun- 
shine; Dannat (W. D. ; Amer.), Lady in red; Diercks, Reading 
the Bible; East (Alfr .), Storm; Edel felt (Alb.), Divine service on the 
shore; Faber du Faur (0.), Napoleon crossing the Beresina in his 
retreat from Moscow; Frederic, The ages of labour, The golden age, 
The old servant; Gay [Walter ; Amer.), Saying grace, Las Cigarreras ; 
Gilsoul, Evening ; Grumelund (J. M.), Fishermen's huts at Svolvaer ; 
Hamilton (J. McLure; Amer.), W. E. Gladstone; Harrison (Alex.; 
Amer.), Solitude; Hawkins (W.; English), Orphans; Knaus (L.), 
Promenade (1855); Kroeyer, Fishing; Kuehl (G.J, A difficult ques- 
tion ; Laermans, End of Autumn; Liebermann, Rustic beer-garden 
in Bavaria; Lorimer (J. H.; Scot), Saying grace; Mancini (FU.J, 
Poor scholar ; Melchers, Young mother ; Melida, Lost; Mesdag, Sunset ; 
Meunier(C), The Black Country ; Morelli(AJ, Festival at the hospice 
of San Trivulzio ; De Nittis, Place des Pyramides and Place du Car- 
rousel, A quay in Paris ; Pasternac (A.), The eve of the examination ; 
Romani (Juana), Salome ; Rusinol (Sant.) , Courtyard with orange- 
trees ; Salmson, Swedish scene; Sargent (J. S. ; Amer.), Carmencita ; 
Schwabe (C), Angel of Death, On the way of Truth; Skredsvig, Villa 
Baciocohi near Ajaccio; Van Soest, Winter morning; Sorolla y 
Bastida, Return of the fishermen; Souza-Pinto, Potatoes; Stevens 
(Alf.), Impassioned song, After the ball ; Stevens (J.), Tortures of 
Tantalus; Strom (H.), Motherhood; Thaulow (Fritz), Winter in Nor- 
way, Old factory in Norway (pastel); Thoren (O.), Arab interior; 
Tito (E.) , Chioggia; TJhde (Fritz von), Christ blessing the meal of a 
peasant; Vierge (D.), The viaticum (Spain) ; Wahlberg (A.), Swedish 
landscape ; Walden (Lionel; Amer.), Docks at Cardiff; Watts (G. F.), 
Love and Life; Whistler (J. M.), The artist's mother (bought by the 
Luxembourg Gallery for 4000 fr.); Zakarian (Z.), Still-life; Zom, 
Fisherman ; Zuloaga (I.), Female dwarf, Portraits. 

From the sculpture-gallery we pass into the first room (PL 1) of 
the picture-gallery, which also contains various objects of art in 
glass-cases (see p. 318). 

Paintings by French Masters. 

A. — Adler (J.), Tramps; Towing. Agache (A.), Study. Aman- 
Jean (E.), Portrait of a young woman. 

B. — Bail (J.), The housewife. Barillot (L.), Shepherdesses in 
Lorraine. Barrias (Fel.), Exiles of Tiberius. Bartholome (A.), 



320 Left Bank 19. THE LUXEMBOURG. Musee: 

Peasant woman. Bastien- Lepage (J.), Haying (Les Foins) ; Portraits. 
Baudry (Paul), Fortune and the child; Truth; Portraits. BennerfE.), 
St. Jerome. Bernard (E.) , Man of Cairo smoking. Bernier (C), 
January. Bernard (A.), "Woman warming herself; Portrait of the 
artist (water-colour); Dead woman; Harhour of Algiers at sunset; 
Between two rays. BUlotte (RJ, Porte d'Asnieres in winter. Binet 
(V.), Sunlight; Sailors; Factories at Rouen. Blanche(J.), The family 
of the painter Thaulow; Portrait of M. P. Adam; Flowers. Bompard, 
Prayer to the Virgin (Venice). Bonheur (Rosa), Husbandry in Niver- 
nais, very characteristic; The artist's horse. Bonnat, Leon Cogniet, 
the painter; Cardinal Lavigerie; Aime Millet, sculptor; Job; In 
the Basque country. Bonvin (Fr.), Ave Maria; Refectory; Servant 
drawing water. Bordes (E .), Labourer's family. Bouche, TheMarne 
near St. Aulde. Boudin (EJ, Harbour of Bordeaux. Boudot (L.), 
The golden season. Bouguereau ( W.), Body of St. Cecilia laid in the 
catacombs; The Virgin as consoler; Youth and Love. BbulardfAJ. 
Father of the artist; Fisherman's child; Ripe cherries. Boulard 
(Emile), Cliffs at Sotteville. Breaute (AJ, The vigil. Breton (Em.), 
Falling leaves. Breton (Jides), Blessing the crops; Calling in the 
gleaners; Gleaner. Brouillet (A .), Intimacy. Brown ( J. L .), Before 
the start. Buffet (Paul), Landscape. Busson (Ch.), Loire in flood. 

C. — Cabanel ( AL), Birth of Venus ; Portrait. Cabie(L.), Coming 
storm. Callot (G.), Portrait of a girl. Caro-Delvaille, His wife and 
her sisters. Carolus-Duran, Lady with a glove; Lilia; Portrait 
of the painter Francais; Mother and children (portrait"); Evening 
in the Oise country; Apple-trees; Troubadour; The old lithograph. 
Carriere (E.), Family; Maternity. Cazin ( J. C. ), Ishmael ; Gambetta's 
mortuary chamber; Tilled lands in Flanders; Snow-effect. Chap- 
lin (Ch.), Remembrances; Girl. Chigot (E.), Lovers. Chudant, 
Moonlight on the oasis. Colin (G.), Gypsies. Collin (R.), 'Flore'al'. 
Constant (B.), Portrait of his son; The last rebels; Harem; Portrait 
of a lady. Cormon (F.), Cain ; The forge ; Lehoux, the painter; Presi- 
dent Louhet. Cottet (Ch.), The last rays; Coast-scene (triptych: 
the farewell, those who go, those who stay); Fog. 

D. — Dagnan - Bouveret , The sacred wafer. Damoye, Marsh. 
Dantan (J. E.), Sculptor's studio. Dauchez (A.), Burning sea-wrack. 
Dawant (A.), Children's choir. Dechenaud, Portrait of his father. 
Delasalle (Anyele), Portrait of the painter Benj. Constant. Delau- 
nay, Communion of the apostles; Plague at Rome; Diana; Portraits 
of his mother and another. Demont (Adr.), Night; Abel. Demont- 
Breton (Virginie), Beach. Desloutin (M.)\ Portrait-study. Des- 
brosses , Ascent of the Little St. Bernard. JDeschamps , Charity. 
Destrem (C), Close of the day. Desvallieres, Female portrait. De- 
taille (EJ, The Dream; March out of the garrison of Huningen in 
1815. Didier (J.), Ploughing over the ruins of Ostia. Dinet (E.), 
Terraces of Laghouat (Algeria) ; Ahd-el-Gheram and Nour-el-A'in. 
Doucet, Portrait of Princess Matilda. Dubourg (Mine.), Corner of 



Paintings. THE LUXEMBOURG. Left Bank 19. 321 

a table. Duez(E.J, Ulysse Butin, the painter. Dufau ( Clementine), 
Autumn. Dufour, View of Avignon in December. Duhem, Flemish 
canal. Dupre (Julien), White cow 5 Mowers. 

E. — D'Estienne (H.), Breton wedding. 

F. — Faivre (A.), Woman with a fan. Falguiere (A.), Fan and 
dagger; Dwarfs (reminiscence of Spain). Fantin-Latour, Studio of 
Manet, the painter ; Night; Wife of the artist; First scene from the 
Rheingold. Ferrier (O.J, Poitrait of General Andre. Flameny 
(Aug. J, Fishing-boat at Dieppe. Flameng (Fr.J, Battle of Eylau; 
Portrait of a lady. Flandrin (Paul), Solitude. Fourie (A.J, Under the 
branches. Frappat (E.J, Phryne. Friant (E.J, All Saints' Day. 

G. — Oagliardini, Roussillon (Provence). Gaillard (F.), Mgr. 
de Segur (blind); Female portrait. Gardier (R. duj, On the beach. 
Geoffroy (J.), Visiting-day at the hospital. Gerome (L.), Cock-fight. 
Gervex (H.), Hanging-committee; Satyr and Bacchante; Portrait of 
a lady. Gilbert (Rj, Portraits. Girardot (A.J, Port of Tangiers; 
Jewish cemetery at Tetuan. Gorguet(A.J, Venus and Eve; Psyche. 
Gosselin, Nocturne. Granie, Portrait. Griveau, Pond. Guignard(G.J, 
Cattle by a pond. Guigou (P.), Landscape in Provence. Guignet, 
Girl. Guillaumet (G.), Laghouat; Biskra; Spinning girls; The 
Seguia; The desert. Guillemet (A.J, View of Paris from Les Mou- 
lineaux (p. 341). Guillou (A.), 'Pardon de Ste. Anne'. 

H. — Hanicotle (A.J, 'Their sea'. Hareux (E.J, Night in August. 
Harpignies (H.J, Torrent in the Var; Coliseum; Moonrise. Hebert 
(E.), Malaria; Kiss of Judas; The Cervarolles (Roman Campagna); 
Portrait of a lady. Hedouln, Gleaners at Chambeaudoin (Loiret). 
Helleu, Versailles (study). Henner (J. J.J, St. Sebastian ; The chaste 
Susannah; Idyll; Portrait of a lady; Naiad; Countess Diana; A priest; 
Crucifixion (from the Palais de Justice). Herpin (LJ, Paris from 
the Pont des Saints-Peres. Hoffbauer, Episode in a battle. Hum- 
bert (F.J, Madonna and Child with St. John; Portrait of a lady. 

I. — Iwill (M. J.J, Before the storm. 

J. — Jalabert, Portrait of a lady. Jeanniot (G.J, Women in church. 

L. — La Gandara (A.J, Woman with a rose. Lagarde (P.J, 
Retreat. Lancon (A.), Portrait of his father. Laparra, Coplas. La- 
touche, A box at the theatre ; Swans. Laurens (J. P.J, Excommuni- 
cation of Kin? Robert of France ; Deliverance of the prisoners of 
Carcassonne (1303) ; Inquisitors. Laurens (P. A.) r Portrait of his 
father J. P. Laurens; Solitude. Laurent (E.J, Young woman dressed 
in pink. Leandre (Ch.J, Portrait of M. G. Courteline, the author. 
Lebasque, Tea out-of-doors. Lebourg (A.J, The Seine. Lefebvre 
(Jules J, Truth; Yvonne, daughter of the artist. Legros (A.), 'Amende 
honorable'; Dead Christ; Landscape. Leleux (A.), Portrait of the 
artist. Lepere, Sudden squall; Still-life. Lerolle (H.J, In the Cam- 
pagna; Old lady. Le Roux (Ch.J, Cherry-trees; Mouth of the Loire. 
Le Roux (Hector), Herculaneum. Le Sidaner (A. E.J, The table; 
Dessert. Levy (E.J, Death of Orpheus; Meta Sudans; Portrait of a 

Babdkkeb. Paris. 16th Edit. 21 



322 Ufl Bunk 19. THE LUXEMBOURG, Muse'e. 

>*OUDg man. Lev.. , BTJ, Pody of Sarpodon brought to Jupiter; CEdi- 
pU8 ami Antigone. Le'rii-Vhurmer, Portrait; Blind beggars at Tan- 
giers. Lhennitte | 2,. ', Harvesters' pay-day. Loftref M. >, King's library 
at Versailles. Lomcnt (F.K The song. LoupiF.), Melancholy. Lucas 
, D./ Saying grace. Limit (A. I, Evening of a Spanish festival. 

M. — MachardiJ. .), Portrait of a lady. A/u/c/mz/if vi. >, Carpoaux's 
studio. Martin \ Henri . Serenity; Sunlight-effect, flfattey '^-A Kn* 
graver. Afcturin | Cfc. : , Girl with her doll. Menard (B, I, Portrait of 
the scholar 1.. Menard; Autumn (pastel); The flock. Merdi { Ant.\ 
Venns. Michel | £ >, Pune near Haarlem; Antninn sowing. Milcen- 
deau (Ch.\ Mother and two children. Monchablon, The bridge. 
Moncinst | (7i. ', Still-lit'e. Montenard, The transport 'Correzo' loa\ 
ing Toulon. Monvcl | A/. Poutet uVL Deserted house. .Uornm 
i (; . ; see p. 3 IS '. Orphens ; The apparition [Salome) ; Rape of Europa ; 
Calvary ; Phaeton; Death and the Young Man; Pathsheba. etc. Mori<tet 
(Mo ', Beading. A/or/of (A J, Ray-stacks. M orot ( Aime), Rezonville ; 
Portrait of the painter llebert. Motiei f V. ), Portrait of a lady. 
Muenier {J. A. I, On the road. 

N. — SeuvilU (A. de } . Cemetery of Si Privat; Attacking a barri- 
caded honse at Villersexel (1870L NoztU {A.~), La l.amle d Or. 

0. — Olive (J. P.), Evening in the harbour oi Villefianche. 

P. — rerret ■A.l Priest bearing the viaticum to a dying man. 
t scene in Burgundy, Ferret { M.\ Senegalese soldiers. Petitjeun, 
Harbour of l.a Rochelle in bad weather. Picard | I . I, A passer-by. 
din (A.)j September evening; Jura Mountains ; Skiits of a wood 
(pastel); End of a valley. Pri)iet [E.K Bath. Frotais (A.K Battalion 
in square ^ 1815). l\tris de Charannes. The poor fisherman ; Drawings. 

Q. — Quignon | F. K Cornfield. Quasi | E, K Landscape; A season 
of promise. 

K. — Re'aameu Or.'. Cuirassiers, Penard (£".), A christening; 
The grandmother. Pcnoaard, Portraits. Fibot(Th.'. Christ and the 
Scribes; St. Sebastian; Good Samaritan, Fiehemcnt (A. deK The 
dream. Fichon-Prunei, Bnll-ring at Seville. Fia.Lot (H.), The road 
to Kerdada. Fcbert-Fleury \ Lcny ; , Old women in the Piazza Navona 
(Rome); Last Days of Corinth; Anxiety. Foil (A. ). Forward; Milk- 
maid; Poor folk; Young lady at the piano. Fous<eau (Ph.), Coat 
nibbling flowers; Storks resting. Foybet. Ctrl with a parrot ; Por- 
trait o( the artist. 

S. — Sabatte' (F % ) t Interior Of St. Germain - des - Pro's. Saint- 
Germier, Funeral at Venice; Secret relation. Saint-Pierre. Female 
portrait. Sautai { F.l Eve of an execution (Rome); Interior o( a 
church. Seyssotfd ( JRJ , Sainfoin in flower (pastel). Simon. Pro- 
cession. Simonnet | L. >, Yille-d'Avray in winter. 

T. — Tarni (L.), Evening. Tattecrain (/■>.. Disembarkation 
of field-workers. TissotfJJ, Faust and Margaret; Portrait-group 
in a park; The departure. In a foreign land. The fatted calf. The 
return (a series). Tronci;. From a simple heart; The jewels. 



Garden. THE LUXEMBOURG. Left Bank 19. 323 

V. — Valadon(J .), Portrait of a young woman. Vtbc/r. The prin- 
cess. Vidal (E ), Girl (pastel). VoUon (A.), Curiosities; Fish; 
Flowers; Harbour of Antwerp: Portrait of tin; artist. Vuillefroy (F. 
de), Hack from the fields. 

W. — Weerln ( J. J.), Death of Joseph Bara. WenckcrfJ.J, Artemis. 
WenLvwrth (Cecilia), Faith. Wery (E.), Boatmen (Amsterdam). 

Z. — Ziern (F.J, View in Venice; Sea-piece. Zuber (H.J, Hol- 
landsch Dicp. 

On stands in the centre of the third room are drawings hy P. Flandrin, 
Fantfn-Latour, and M. /'arret. 

The last room but oik; on the fk Side (PI. 7) contains collections of 
paintings, drawings, etchings, engraving:;, or lithographs of various artists 
in turn. 

The *Garden of the Luxembourg (PI. R, G, 16, 19; J V), which 
was formerly of much greater extent than at present, is the only re- 
maining Renaissance garden in Paris; the greater part of it was plan- 
ned by Debrowe, the architect (see p. 3l4). It is open daily from 
early morning till dusk, and is the most frequented promenade on 
the left bank of the Seine. Like the Tuileries Garden and the Palais- 
Royal, it has its military band in summer, the latter playing under the 
trees near the Boul. St. Michel on Tues., Frid., and Sun., from 4 to 
5, or from 5 to 6 (comp. p. 44). From April 1st to Sept. 30th the 
fountains play daily, at other seasons on Sun. only. The principal 
entrances are on the sides next the Pool. St. Michel (p. 269), the 
Rue de Vaugirard close to the Odeon fp. 325], the Rue du Luxem- 
bourg, and the Av. de f Observatoire (p. 325), but there is another 
on the W. side, close to the exit from the Luxembourg Gallery. 

The garden contains few lawns and not many flowers. Squares 
enclosed by trees, and open spaces for children's games and for the 
display of sculpture are the prevailing features. On the terrace of 
the Museum are statues belonging to it: Houmn, Phaeton ; Thomas, 
A discovery at Pompe'j; Trentacoate , Sower; Ft. MacMonniet 
(Amer.J, Bacchante; Christophe, Fate; Maniylier, Chaser in metal ; 
(Jharpentier, Jmprovisatore; Hteiner, Shepherd and Faun ; Barlhelemy, 
Goatherd; E. (JuUlaume, Mower. Opposite, on the lawn: The effort, 
a large leaden statue in the midst of rocks, by Pierre Roche; Source 
and Stream, by Chatroumse , and a copy of the Venus de Medici 
(formerly at the fountain of that name, p. 324). Behind the Museum : 
Sculpture (Phidias), by A. Millet; Painting, by Franceschi. Between 
these, in the middle of the wall, is a mosaic, by Rene Martin et Cie., 
of Peace crowning the names of modern artists from David to Puvis 
de Chavannes. After the contest, by Levasseur; At the goal, by A. 
Boucher. Farther on is the Monument of Euyene Delacroix (1798- 
1863), the painter, by Dalou. It consists of a fountain with a 
bronze bust, and bronze figures of Time bringing fame to the artist 
and the Genius of Art applauding him. — In the remaining W. part 
of the garden: Triumph ofSilenus, a spirited group in bronze by 
Dalou (near the Museum); near by, Bust of Gabriel Vieaire (1848- 

21* 



324 Left Bank 19, THE LUXEMBOURG. 

1900), the poet, by A. Injalbert (1902); Winter, by an unknown 
artist; then, Model of the figure of Liberty, by Bartholdi (see p. 2341 ; 
and Hercules, by Ottin; close by, Monument to Chopin, consisting 
of a bronze bust, with the bust of a woman on the pedestal, by 
E. Dubois. On the lawn to the left, A Gaul, by an unknown artist. 
Beyond the cross-walk, on the right: Poor Oalabrian pilgrim, by 
Petitot (1847); farther on, Monument to Watteau (1684-1721), by 
Qauquii (1896), consisting of a bust of the painter, in pewter, with 
a lady (in marble) of the time of Louis XV offering him flowers; 
close to, Monument to Ferdinaiyl Fdbre (1827-98), the poet, by 
Marqueste (1903); his bust is borne by a lofty pedestal at the foot 
of which are a .girl with her goat. Then, near the Rue Auguste- 
Oomte, Family Joys, by Daillon; Bust of Sainte-Beuve (1804-691, 
the critic, by Puech (1898); Eustache Le Sueur, by Husson; Wrest- 
lers (bronze), by Ottin; higher up, on the left, Stags (bronze), 
by Leduc; Monument to Ft. Le Play (1806-1882), the economist, 
by Allar (1906; bronze); Saga (bronze), by Eingel d'lllzach ; large 
column with an allegorical capital and bas-reliefs, byE. Derre(1906); 
Lion and Ostrich , by Cain. 

In the centre of the garden is a large space surrounded by a 
terrace and balustrade and embellished with an octagonal fountain- 
basin. To the right and left, on marble columns: David victorious 
over Goliath, Venus leaving the bath, Italian works of the 16th century. 
On this side of the fountain, as we return, Archidamas about to throw 
the discus, by Lemaire; to the right, Vulcan, by Bridan the Elder ; 
Marius amid the ruins of Carthage, by V. Vilain; in front of the Pa- 
lace, Statue of Bailly (p. 312), reading the oath at the Jeu dePaume 
(p. 351), in bronze by Aube, etc. There are also various copies of an- 
tique statuary. 

The terraces around the parterre are embellished with twenty 
modern statues in marble of celebrated Frenchwomen (brought from 
the Park of Sceaux, p. 409), the stiffness of which does not harmon- 
ize well with the garden. Their names are inscribed. At the end, to 
the left : Toil, a bronze statue by Gautherin; 'Marchand de Ma-ques', 
by Astruc (1883; the twelve masks are portraits of contemporaries, 
incl. Corot , A. Dumas, Berlioz, Carpeaux, E. Delacroix, and 
Balzac); Velleda, by Maindron (1844); and a Rhapsody, by Bour- 
geois. Among the sculptures nearer the railing are the Monument of 
Leconte de Lisle (1818-94), the poet, by luech, in front of which a 
monument (by Jose de Charmoy) is to be erected to Alfred de Vigny ; 
farther on, to the right, Monument of George Sand (1804-76), the 
novelist, by Sicard; a Dancing Faun, in bronze, by Lequesne; Boy 
carrying a little girl (bronze), by Valois. 

The beautiful *Fontaine de Medicis , by Debrosse, in the Doric 
style, with imitations of stalactites, rises on the same side. Three 
niches between the columns contain sculptures by Ottin: Polyphe- 
mus surprising Acis and Galatea; Faun and young huntress; above, 



ECOLE DES MINES, left Bank 19. 325 

River-gods. The whole spirit of this structure (restored in 1846, 
but now unfortunately much neglected) is curiously Florentine. — 
Behind it is the Fontaine de Leda, with a bas-relief by A. Valois. 

Farther on : Adam and his family, by Oarroud (1844) ; Monu- 
ment of Murger (1822-61), author of the 'Scenes de la Yie de Bo- 
heme',by H. Bouillon (1895); Faun with an amphora, by Craulc; and 
Bust of Theodore de Banville (1823-91), the poet, by J. Roulleau. 



The The&tre de l'Odeon (PI. R, 19, IV; see p. 38), opposite 
the E. part of the garden of the Luxembourg but facing in the oppo- 
site direction, is a building in the classic style founded in 1782 on 
the site of the Hotel de Conde, but rebuilt or restored in 1808 and 
1819. The arcades which surround it are partly occupied by book- 
sellers' shops. 

In the square in front of the Odeon is a Monument to E/nile Augier 
(182U-80), the dramatic poet, consisting of his bust and bronze statues of 
Comedy, the Aventuriere (one of Augier's plays), and a Child brandishing 
the whip of satire, all by E. Barrias. 

The Rue Racine, to the E. of the Place de TOdeon, leads to the Rue 
Monsieur-le-Prince, containing, at No. 10, the house where Auguste Comte 
(see p. 282) lived and died. His room may be seen (inscription). 

In the Rue de Vaugirard, which skirts the Luxembourg, on the right 
(No. 70), is St. Joseph- det- Carmes , the former chapel of the Carmelite 
monastery, founded by Louis XII, notorious for the massacres of Sept. 
1792. The crypt (open daily at 10 a.m. except Tues.-, apply at the sacristy 
to the left of the high-altar; fee) still shows traces of these atrocities and 
contains the tombs of the victims. Adjoining is the Institut Catholique 
(PI. R, 16; IV), a kind of free university, established in 1875. 



Continuing to ascend the Boul. St. Michel beyond the Luxem- 
bourg Garden, we pass on the right the Ecole Superieure des Mines 
(PI. R, G, 19; IV, F), in the old Hotel de Vendome (18th cent.; 
enlarged in I860), which possesses a valuable Musee de Minera- 
logie, de Geologie, et de Paleontologie (open on Tues., Thurs., and 
Sat., 1-4, and from Oct. to July on the 1st Sun. of each month 
from 9 till noon). The entrance is in the middle, by the second iron 
gate. The staircase is adorned with paintings of places of geological 
celebrity, by Hugard (inscriptions). — Near the School of Mines, at 
the junction of the Boul. St. Michel, the Rue Auguste-Comte, and Rue 
de l'Abbe-de-rEpee (p. 330), rises a Monument to Pelletier and 
Caventou, the discoverers of quinine, by Lormier (1900). 

From the S. gate of the garden of the Luxembourg stretches the 
pretty Avenue de VObservatoire (PI. Gr, 19), the fine trees and flower- 
beds of which are all that is left of the S. portion of the garden. 
Among the flower-beds are marble groups representing Dawn (by 
Jouffroy), Day (by Perraud), Twilight (by Crauk), and Night (Diana 
visiting Endymion ; by Gumery). — On the right side of the avenue, 
in the Rue Auguste-Comte, near the garden, is the Lycee Montaigne. 
At the corner is the Ecole Coloniale, built in the Moorish style in 
1895-96. Farther on are the Ecole de Pharmacie (erected by Rigaud 



326 Left Bank 20. JARDIN DES PLANTES. 

in 1876-85), with statues ofYauquelin and Parmentier and, in the 
Salle des Pas Perdus, fine frescoes by Besnard, and the Clinique 
d' Accouchement Tarnier (1881). Here, at the corner of the Av. de 
l'Observatoire and the Rue d'Assas, is a Monument to Dr. Tarnier 
(1828-1897), a marble bas-relief by D. Puech (1905). 

At the S. end of the avenue rises the handsome *Fontaine de 
l'Observatoire (PI. Gr, 19), erected in 1874 and adorned with eight 
sea-horses, by Fremiet, four allegorical figures of the quarters 
of the globe bearing an armillary sphere, by Carpeaux, and water- 
spouting dolphins and tortoises. 

For the Boul. St. Michel, which ends here, see p. 269 ; and for the 
Carrefour de. l'Observatoire, to the S. of the fountain, see p. 334. 

20. The Jar din des Plantes. 

The Jar din des Plantes, in the wider sense, is open daily from an early 
hour till dusk, but the Menagerie, the Collections, the Hothouses, and the 
Library are shown at certain hours only. The Minagerie is open daily from 
11 to 5 (6 on Sun.) from 1st March to 30th Sept., and from 11 to 4 (4.30 on 
Sun. in Oct.) during the rest of the year. The Galeries des Animaux Vivants 
are open to the public on Thurs., Sun., and holidays 1-4, when the animals 
are not outside, and on other days by tickets obtained from the 'Admini- 
stration 1 (p. 328). — The Galleries of Natural History are open to the public 
on Sun., Thurs., and holidays 11-4 and on Tues., Frid., and Sat. by ticket. 
— The Hothouses ( Serres) are shown by ticket only, on Tues., Frid., and Sat., 
1-4. The Grande Serre, however, is open daily except Mon. and Sat., 1-4. 
The Galerie de PaUontologie is open on Tues., 1-4. The Library (Rue de 
Buffon 8) is open daily from 10 to 4, except on Sun. and holidays, and 
during the vacations (lst-30th Sept. and ten days at Easter). — From the 
above it will be noted that everything may be seen on Tues. ; the tickets, 
which are readily granted to strangers, are available for 5 persons. — 
A band plays in the gardens on Sun. in summer. 

Restaurants near the Jardin des Plantes, see p. 22. 

The Jardin des Plantes, which is at some distance from the centre 
of the city, may be reached by the Railway connecting the Quai 
d'Orsay station (p. 298) with that of the Quai d'Austerlitz (p. 327); by 
Omnibus ((r, K, P, or T; see Appx., pp. 34, 35) ; by the Metropolitan 
(Line 5, see Appx., p. 33); or by Tramway (t M, T A J, T S d, or 
TS9; Appx., pp. 38, 39, 41). In fine weather it is preferable to go by 
Steamboat (see Appx., p. 48), a route which affords fine views of 
the banks of the Seine, and at the same time conveys some idea of 
the increasing importance of the water-borne commerce of Paris. 

Paris is the chief mercantile port of France. More than 18,000 craft 
descend the river annually from Paris, and more than 23,000 ascend it; 
and about seven million tons of goods (valued at 28,000,000 1.) are entered 
and cleared via, the river. This water-borne merchandise consists prin- 
cipally of building materials, wine, forage, manures, grain, flour, spirits, 
and coal. Wharves, variously named, stretch between the Pont dAuster- 
litz (p. 327) and the Pont d'Arcole (p. 175): on the right bank the Ports 
des Urmes, de St. Paul, des Celestins, de Henri IV (see p. 182); on the 
left bank, the Port de la Tournelle and the extensive Port St. Bernard 
('Port aux Vins 1 ), which is to be enlarged. The Port d'Austerlitz (PI. R, 
25; V) is to have a quay x /4 M. long and two-storied dock-warehouses, 40 ft. 
high and 130 ft. in depth, provided with powerful engines for loading and 



j- a. Stations dps li atoai oc 




JARDIN DES PLANTES. Left Bank 20. 327 

unloading. Opposite are the similar Quai and Port de la Rapie, to called from 
the Siem* La Rapee, commissioner of war under Louis XV, who had a 
country-house here. The Machine EUvatoire cTAusterlitz, on the quai, may- 
he inspected with an order from the Directeur de la Voie Publiquc (Pre- 
fecture de la Seine). 

To the W. of the Jardin des Plantes is situated the Halle aux 
Vins (PI. R, 22; V), a huge bonded warehouse for wine. — At the 
E. angle of the Halle, at the corner of the Quai St. Bernard and 
the Rue Ouvier, is another entrance to the Jardin des Plantes, a third 
being situated at the W. end of the Rue Cuvier. Opposite the latter, 
near the (Q) omnibus-station, stands the Fontaine Cuvier, built in 
1840, with a statue of Nature surrounded by animals. 

We quit the steamboat at the Pont d'Austerlitz (PL G, R, 25; 7), 
erected in 1802-7, rebuilt in 1855, and enlarged in 1884-85. At the 
end of the bridge on this side is the Place Valhubert, in which are 
the omnibus and tramway offices. The 'place' owes its name to 
General Roger Valhubert, who distinguished himself at the battle 
of the Simplon (1799) and was killed at Austerlitz (1805). On the 
S., between the Quai d'Austerlitz and the Boul. de l'Hopital (p. 329), 
is the Qare du Quai-d' Austerlitz or Gare d' Orleans (PL G, 25; V), 
which is traversed from end to end, at the height of the first story, 
by the Me'tropolitain (Line 5; see Appx., p. 33). The Me'tropolitain 
then crosses the Seine by means of a single iron arch, 460 ft. in span 
and 98 ft. high in the middle. The principal entrance to the Jardin 
des Plantes is on the W. side of the Place Valhubert. 

The Jardin des Plantes (PL G, R, 22, 25 ; V), which covers an 
irregular quadrilateral area of 75 acres, comprises the Jardin Botan- 
ique, the Menagerie, or zoological department, and the Oaleries, where 
the collections are housed, besides the library, laboratories and 
lecture-hall. Comp. the annexed Plan. 

The Jardin des Plantes was founded in 1635 by Guy de La Brosse, 
physician to Louis XIII, and was originally nothing more than a Jardin 
des LTerbes Mtdicinales. The celebrated Buffon (171)7-88) was appointed 
director of the 'Jardin du RoT, as it came to be called, in 1739 and he 
extended its sphere by founding collections in every department of natural 
history. In 1793 the royal menageries were transferred thither, and in 1794 
the library. The garden was then called Mus&um d'Histoire Naturelle. 
The 'Academie d'Histoire Naturelle 1 attached to it numbers 18 professors 
and about 25 assistants. 

The Botanic Garden, which is next to the entrance in the Place 
Valhubert, contains over 19,200 different plants. Many of the trees 
now common in Europe, such as plane and chestnut trees, were 
introduced and naturalized by the directors of the Jardin des Plantes. 
Variously coloured labels indicate the classes (red) , the families 
(yellow), and the genera and species. The two last are further dis- 
tinguished by coloured bands denoting their uses : red bands if they 
are used in medicine, green if they are edible, blue for those em- 
ployed in the industrial arts, yellow for ornamental plants, and black 
for the poisonous species. To the left of the entrance are the Ana- 
tomical Galleries (p. 329), and to the right the aquatic plants. Farther 



328 Left Bank 20. JARDIN DES PLANTES. 

on is the Ecole de Botanique, open daily except Snn. and holidays, 
6-11 a. ( m. and 1-6 p.m. In the centre is a flower-bed. In the S. 
portion are the Ecole des Arbres h Pepins, or pip-bearing trees, and 
the Ecole des Arbrisseaux d'Ornement, which contains the first 
acacia introduced into Europe. This was brought to France by Jean 
Robin in 1601, and planted here in 1636. 

Menagerie. — The collection embraces over 1400 animals. 
The Animaux Feroces are lodged in the E. part. Next to them are 
the Animaux Paisibles. A little beyond the Animaux Fe'roces, to the 
right, is the Palais des Singes, or monkey-house. Farther on, to the 
left, the Rotonde des Grands Animaux, containing elephants, hippo- 
potami, giraffes, camels, etc., and the Fosse aux Ours, or bear-pit. 
— Behind the rotunda are the Grande Voliere, or aviary, and more 
to the N. the cages of the Birds. of Prey, and the Faisanderie. Then 
come the Reptile House and the Crocodile Pond (in summer); in 
front of the former are two bronzes : The Snake-charmer, by Mar- 
cliand, and The crocodile-hunter, by Arthur Bourgeois. — On the W. 
are the basin of the Ottaries or Sea Lions (fed at 3 p.m.). Behind 
this is the Orangery (no admission). 

Farther to the W. are the Amphitheatre, or lecture-hall (p. 329), 
with accommodation for 1200 students, and the office of the ''Admini- 
stration', where the tickets mentioned at p. 326 are obtained. In 
the shrubbery to the right rises a bronze group by Fremiet, Hunting 
the young bear. On the left, the statue of the centenarian chemist M. 
E. Chevreul (1786-1889), by L. Fagel (1901). His numerous discos - 
eries are recorded on the pedestal. — The Labyrinthe is a small hill 
at the N.W. corner of the garden. On the E. side is a magnificent 
Cedar of Lebanon, the first to be imported into France, planted here 
in 1735 by B. de Jussieu. A little higher up is a monument to the 
memory of Daubenton (1716-1800), an eminent naturalist and 
director of the Jardin des Plantes. — To the S. are the Serres, or 
Hothouses (adm. see p. 326). 

Galleries (admission, see p. 326). The natural history galleries 
of the Jardin des Plantes are among the most extensive in existence. 
The galleries of zoology are arranged in a handsome building, com- 
pleted in 1889, on the W. side of the Botanical Garden; adjoining, 
on the S. side of the garden, are the galleries of geology and botany 
and the library; while at the E. end of the S. side, in a building 
(completed in 1898), designed as the first part of a palatial range 
that is to extend to meet the older galleries, are the galleries of 
comparative anatomy, etc. 

Galleries of Zoology. The facade is embellished with a figure of 
Science in high-relief, by E. Guillaume, and medallions of famous naturalists. 

Ground Floor: Mammals, including a rich collection of quadrumana, 
and Fishes. At the foot of the N. staircase to the first floor are the tomb 
of Guy de La Brosse (p. 327), a bronze group by J. Cavelier, and a marble statue 
of Buflon (p. 327), by Pajou. By the S. staircase are the bust and tomb 
of Victor Jacquemont (ISOl-1832), the naturalist, and a bronze group by 
J. Thomas. — First Floor. Birds, Reptiles, aud Molluscs. — Second and 



JARDIN DES PLANTES. Left Bank 20. 329 

Third Floors. Insects, including a superb collection of butterflies, and 
Crustacea. 

The Library comprises about 220,000 vols., 2180 MSS., 18,700 original 
drawings, and 3800 maps (open daily, exc. Sun. and holidays 10-4). 

The Gallery of Geology and Mineralogy is adorned with statues of 
Cuvier (1769-lb32-, see p. 214), by David d'Angers, and Haily (1743-1822), 
the mineralogist, by Brion, and some Jarge landscape paintings by Biard. 
On the right is a magnificent collection of American precious stones, 
presented by Mr. Pierpont Morgan. 

The Gallery of Botany contains specimens of exotic planls, repro- 
ductions of fruit in wax, etc. On the first floor are the herbaria, accessible 
for students only; they include the herbaria of Alex, von Humboldt (1805) 
and Luuarck (1885). In the vestibule is a statue of A. de Jusxieu (1686- 
1758), by Legendre-Heral. 

Galleries of Comparative Anatomy, Palaeontology, and Anthro- 
pology. In the pediment above the entrance, at the E. end, are the three 
kingdoms of Nature, by Allar, busts of naturalists, and animals of every 
description. On the N. facade are bronze and marble reliefs of animal 
life: among the former, The Horse tamed by Man, by Marqueste, and a 
Nubian killing a crocodile, by E. Barriax. In front are placed two bronze 
statues by Fr&miet, The Stone Age and the First Artist. 

In the vestibule is a Combat between a man and a gorilla, a fine 
marble group by Frhniet. — The interior contains Anthropological and 
Falaeontological Collections in addition to the Collection of Comparative Ana- 
tomy, founded by Cuvier, in which all the races of mankind with their 
varieties are illustrated by skeletons, skulls, and c^sts. In the Amphitheatre 
(apply to the guardian; fee) are a ceiling-painting by Cormon, representing 
the progress of mankind towards enlightenment, and ten paintings of 
primeval subjecls. 

The Pavtllon Georges- Vit/le, which succeeds the Galleries, is 
a small museum illustrating the Physiology of Plants in connection 
with the experiments in seed-culture carried out by Professor Ville 
at Vincennes. Open San., Thurs., and Sat., 11-4. 

To the W. of the garden, at No. 36 Rue GeolTroy-St-Hilaire, is the 
house in which Bull'on (p. 32') lived. At the corner of the Rue Lace'pede 
is the Hopital de la Pitie (PI. G, 22, V; 680 beds), dating from 1612, but 
largely rebuilt in 1792-1802. It was originally a hospice founded by Marie 
de Me"dicis for aged beggars, who were called the 'EnfermeV. A New 
Hdpital de la Pitie', intended to supersede both the old hospital of that 
name and the Hotel-Dieu (p. 265), is in course of construction to the S. E. 
of the Hospice de la Salpetriere (see below). This will contain 994 beds and 
the main entrance will be in the Boul. de l'Hopifal. — At No. 8 Rue 
Lace'pede (at the. 'end of the court) is the Musie Godefroy., founded by the 
collector M. Godefroy (to whom intending visitors should apply by letter). 
The museum contains fragments and photographs of old Paris buildings, 
poltery of the 12-13th cent., Gallo-Roman vases found in the Seine, 
statues, etc. 



The Boulevard de l'Hopital (PI. G, 25, 22, 28), between the 
Place Valhubert (p. 327) and the Place dTtalie (p. 334), is traversed 
by the omnibus -line P, and beneath it runs Line 5 of the Metro 
(see Appx., pp. 35, 33). In this boulevard is situated the Hopital 
de la Salpetriere, on the left. This vast establishment, originally an 
arsenal built by Louis XIII, has been converted into an asylum for 
aged and for insane women, with a department for the treatment of 
nervous diseases in both sexes. It includes 45 blocks of building, 
with 4682 windows and 3818 beds. The plans, including that of 



330 Left Bank 2h RUE ST. JACQUES. 

the church with its octagonal dome, were prepared by Liberal Bruant 
in 1657. In front is a bronze Statue of Dr. Pinel (1745-1826), 
an eminent benefactor of the insane, by L. Durand, and near the 
entrance is a Statue of Dr. Charcot (1825-93), the nerve-specialist 
and pioneer of hypnotism, by Falguiere. The large amphitheatre 
contains a painting by Tony Robert-Fleury, in which Dr. Pinel is 
represented as delivering the insane from torture. 

The Boulevard St. Marcel (PI. G,22) diverges here to the right, 
passing a Horse Market (Wed. & Sat. afternoon), where dogs and 
bicycles also are sold (on Sun.), and a bronze Statue of Joan of Arc, 
by Chatrousse. The boulevard ends at the Av. des Gobelins (p. 331). 

Almost opposite the Joan of Arc statue, on the right, is the Rue Sci- 
pion, leading to the Place Seipion. At the corner fNo. 13) is the Boulangerie 
des Htpitaux et Hospices (PI. (J, 22), founded in 1742 in a building of 1565 
which belonged to Seipion Sardini, a Tuscan nobleman in attendance on 
Catherine de Medicis, and acquired by government in 1614. The group of 
Bakers opposite, in porcelain, is by A. Charpentier and E. Mutter. — Not 
far off, in the Rue du Fer-a-Moulin, rises the AmpMthe'dtre d'Anatomie of 
Olamart (P1.G,22), on the site of the old Hotel de Olamart, the garden of 
which was turned into a cemetery, wheve the remains of Mirabeau were 
placed after their removal from the Pantheon under the Convention. 



21. Southern Quarters. 

The Gobelins (p. 332) mav be reached by the Metropolitan (Lines 2S & 5 ; 
Appx., pp- 31, 33); by the Tkajuv,ats TQ, TS 4, T S 6\ TS8, or TSSbis 
(Appx., pp. 38, 41); or by the Omnibus Lines P or U (Appx., p. 35). 

The Rue de l'Abbe-de-l'Epee (PI. G, 19 ; F), which begins at 
the Carrefour du Boul. St. Michel, to the S. of the Ecole des Mines 
(p. 325), runs towards the E. Here, at the corner of the Rue St. Jacques, 
on the left, is the church of St. Jacques-du-Haut-Pas, dating from 
the 17th cent., with a square tower by Daniel Gittard. 

Thence we follow the Rue St. Jacques (PI. G, 19), which runs 
to the S. At No. 254, on the right, is the Institution des Sourds-Muets 
(adm. on Tues., 2-4 p.m., by permission of the director). 

In the court is a statue of the Abbi de VEpie (1712-89), the founder, by 
Felix Martin, a deaf mute (eonip. p. 87). This establishment, which has 
been a government institution since 1791 and was rebuilt by Peyre in 1823, 
occupies the site of a commauderv of the Freres Hospitaliers de St. Jaeques- 
du-Haut-Pas. It contains some paintings and sculptures executed by pupils. 

At No. 269 in the same street (on the left) is the Maison de la 
Schola Cantorum, for the teaching of church-music (concerts, p. 44). 
This was formerly (1674) a monastery of English Benedictines, and 
is still under the control of English Roman Catholic bishops. The 
remains of the chapel in which James II. was buried (1701), a saloon 
of the 17th cent., etc. are shown to visitors (daily after 1 p.m. ; fee). 
At the end of the court at No. 284 (almost opposite) is a door 
surmounted by a pediment and flanked by columns. This was the 
entrance to the Carmel, the convent to which Louise de La Valliere, 
mistress of Louis XIV, retired in 1675. 



VAL-DE-GRACE. Left Bank 21. 331 



The Rue du Val-de-Grace, on the right a few yards farther on, crosses 
the Rue Nicole (PI. G, 19), at No. 17 bis in which are remains (cell-doors, 
staircase) of Louise de La Valliere's private oratory, in the Louis XIV style. 

A little to the E., Rue Gay-Lussac 41, is the Muste Pidagogique (PI. G, 
19; F), open on Thurs. from 10 a.m. to 4 or 5 p.m. It comprises a Musie 
de Poupe'es , showing the costumes of the ancient provinces of France and 
of several foreign countries. — The Ecole Normale Bup&rieure (PI. G,19;F), 
in the Rue d'Ulm (No. 45), was founded in 1794 for the training of teachers 
for the 'lyce'es'. It has produced many famous writers and savants. 

In the Rue St. Jacques, farther on (Nos. 277, 279), we observe 
the Val-de-Grdce (PI. G, 19), formerly a Benedictine nunnery of 
which Notre-Dame du Val-de-Grace was the patron saint. It was 
founded by Anne of Austria , mother of Louis XIV , in accordance 
with a vow, but was converted into a military hospital in 1790, with 
a military medical school. The court in front of the church is embel- 
lished with bronze statues of the two Barons Larrey (father and son), 
the famous surgeons, by David d' Angers and Falguiere. 

The Church of Val-de-Grace, with its handsome dome, was begun 
in 1645 by Fr. Mansart on the model of St. Peter's at Rome, and 
continued by Lemercier and others. It was completed in 1666. 

The chief decorations of the interior are in sculpture-, the reliefs on 
the vaulting should be noticed. The dome, 133 ft. in height and 53 ft. in 
diameter, was painted about 1660 with a fresco (damaged) by P- Mignard, 
containing 200 figures three times life-s : ze, and representing the glory of 
the blessed. The canopy over the high-altar is a copy of that at St. Peter's. 
— Buried in the crypt are the hearts of the princes and princesses of the 
royal family, the princes of Orleans, and Queen Henrietta, wife of Charles I. 
of England. 

A little farther on the Rue St. Jacques crosses the Boulevard 
de Port-Boyal (PI. G, 19,22), in which, on the S. side, are the 
maternity hospitals of Baudelocque and La MattrniU (No. 119). The 
latter has since 1814 occupied the buildings of the old abbey of 
Port -Royal de Paris, constructed in 1625 for the Bernardines. 
Beyond them is the Hopital Cochin - Annexe (No. Ill; formerly 
Hopital Ricord), in front of which is a Statue of Dr. Ph. Bicord 
(1800-1889), by E. Barrias. — At No. 47 Rue du Faubourg-St- 
Jacques, to the right of the boulevard , is the Hopital Cochin (809 
beds), founded in 1779 by a priest of that name. 

The Boul. de Port-Royal terminates on the E. in the 'carrefour' 
where the Boul. St. Marcel (p. 330), the Boul. Arago (coming from 
the Place Denfert-Rochereau, p. 337), and the Avenue des Gobelins 
(PL G, 22, 23) converge. — At the N. end of the Avenue des Gobe- 
lins rises the church of St. Medard (PL G, 22 ; 7), of the 15-17th 
cent., the burial-ground of which is now a garden, with a figure of 
'Haymaking' by Barrau. In the 18th cent, it was famous for the 
pilgrimages made to the tombs of the Jansenist Nicole and of Fran- 
cois de Paris (d. 1727), to which miraculous powers were ascribed by 
the 'convulsionnaires'. In 1732 the authorities closed the cemetery, 
which gave rise to the witticism : — 

l De par le Roi, defense 4 Dieu, 
De /aire miracle en ce lieu.'' 



332 Left Bank ?1. THE GOBELINS. 

The Rue Monge at the hack of. the church leads to the Place Monge 
(PL G, 22), in which is a bronze statue of Louis Blanc (1811-82), the historian 
and socialist, by Delhouime. Arenes de Lutece, see p. 288. 

In the Avenue des Gobelins, to the S. (No.4'2, on the right), is 
the unimposing building occupied by — 

The *Gobelins (PI. G, '23), for 300 years the state-manufactory 
of the famous tapestry of that name. It contains an interesting col- 
lection of ancient and modern tapestries. The manufactory is open 
to the public on Wed. and Sat., 1-3 o'clock. Director of factory and 
museum, M. Jules Guiff'rey. 

Tapestry-weaving was introduced into France by Francis I., who 
established a factory at Fontainebleau. Heuri IV greatly fostered the 
industry, and about 1601 assembled in Paris a number of weavers from 
Flanders. At that time the manufactory was installed in the dye-works 
formerly occupied by the Gobelin family; hence its name. Louis XIV 
purchased the works in 1662 at Colbert's instigation, and placed them 
under the management of Charles Le Brim, the painter (d. 1690; p. xliv), 
who was succeeded by P. Mignard (d. 1695). After a brief interregnum 
during the Revolution the manufactory was finally established as a public 
institution by Xapoleon I. in 1S04. — At first (down to 1695) not only 
tapestry, but embroideries, furniture, mosaics, bronzes, and goldsmith's 
work were produced, all being exclusively reserved for the decoration of 
the royal palaces or for royal gifts, just as to-day the products of the 
Gobelins are employed for public purposes only. The success of the in- 
stitution continued unbroken so lonsj as painters like Xoel Cot/pel (d. 1707), 
Mich. Corneille (d. 1708), Jean Jourenei (d. 1717), J. B. Fr. de Trou (d. 175'J), 
and C. Van Loo (d. 1765) designed decorative works expressly as models 
for tapestry. Under the influence, however, of /. B. Oudry id. 1755) and 
Fr. Boucher (d. 1770) , attempts, entirely out of harmony with the true 
character of the art of tapestry- weaving, were made to represent all pos- 
sible shades of colour by means of wools of thousands of different hues, 
each in twelve different shades. Increasing mastery of technique encour- 
aged the evil custom of minutely copying pictures painted without any 
reference whatever to such reproduction, until finally tapestry- weaving 
degenerated into a mere bastard kind of painting. Quite recently some 
efforts have been made to retrieve the error , btit the good old tradition 
cannot hastily be regained. 

Four Exhibition Rooms, on the left side of the court, contain 
a collection of ancient and a few modern tapestries, placed here 
in 1878. In 1871 the Communards burned a great part of the fac- 
tory and about 300 of the most valuable tapestries. Changes are 
occasionally made. Titles are attached in most cases. 

1st Room. Chiefly large tapestries of the Louis XIV period. To the 
right: Crossing the Ponte Molle (Baphael); Abraham's sacrifice (Sim. Youet); 
Louis XIV receiving Cardinal Chigi, the papal legate (Le Brun) ; Players 
at 'tiquet\ part of a curtain by Gombaut and Maci (17th cent.); Dance of 
nymphs, Trinmph of Pallas (2f. Coupel); Triumph of Apollo (Leramiert); 
Marriage of Alexander the Great (Cot/pel); A\itumn (Le Brun); Ascent of 
Elijah (Sim. Youet). — Sculptures: 'Busts of Le Brun, De Troy, Oudry, 
Desportes. Boucher, Audran, and X. Coypel; bronze statue of Colbert, by 
Aube". In glass-cases (on the left), fragments of Coptic tapestries (lst-6th cent.), 
and specimens of colouring matter used in dyeing wools and silks; on the 
right, pupils' work, etc. 

2nd Room. To the right: The Flemings demandiug peace from Clovia 
(Brussels tapestry; 17th cent.); Hound, from the "Chasses de Louis XIV 
tatter Oudri/); Animals lighting (Desportes). 



THE GOBELINS. Left Bank 21. 333 

The 3rd Room, to the left of the last, contains tapestry of the 15-18th 
cent, from different manufactories. Totheright: Calydonian Boar (18th cent.); 
Kiss of Judas (16th cent.); Louis XI raising the sieges of Dole and Salins 
(Bruges ; 1501). Sundry fragments : Hunts of Emp. Maximilian ; Angelic salu- 
tation, Dead Christ, Adoration of the Magi (end of the 15th cent.; Flemish); 
above the Christ and at tbe door, fine pieces of ancient Persian tapestry 
(16th cent. ; one of silk). On the other wall, four pieces from tbe work- 
shops of Maincy, after Raphael: Death of Ananias, Healing the paralytic, 
Sacrifice at Lystra (farther on), and Elymas struck with blindness. Then, 
Death of Joab (A. Ducerceau). 

4th Room (adjoining R. 2). On the left, Flora, of the Fontainebleau 
school (V) of the 16th cent.; the Concert, French tapestry of the beginning 
of the 16th cent. ; between the windows, Foliage (early 16th cent. ; flemish) ; 
at the first window, Paris tapestry (17th cent.). To the left, Turkish em- 
bassy at the Tuileries in 1721 (Parrocel). 

We next visit the Workshops (ateliers), where the weavers are at 
work on the looms. A distinction is drawn between Gobelins proper, 
which is made in the first room, and Tapis de la Savonnerie, to 
which the second room is devoted. The latter owe their name to a 
manufactory of tapestry founded about 1601 in an old soap-factory 
('savonnerie') near the site of the Trocadero (p. 226), which at first 
produced only carpets with oriental designs; it was amalgamated 
with the Gobelins in 1827. The visitor who has seen nothing but 
faded old Gobelins tapestry will be struck by the beauty and bright- 
ness of the fresh colours. 

The boms are of the kind known as 'high-warp' 1 looms (a haute lice), 
in which the warp-threads are vertical, as compared with 'low-warp' looms 
(a basse lice), in which the warp -threads are horizontal. At the looms 
engaged in | mducing Gobelins tapestry proper ihe reverse side of the 
tapestry is turned towards the workman, with the outline of the design 
drawn on the stretched threads. A mirror placed on the other side shows 
him the progress he is making. At the workman's side are the picture to 
be copied and a basket with wools of every colour and shade (about 
14,000 tones in all). The weft-threads are inserted by means of a shuttle. 

In the first workshop the following tapestries should be noticed: Nymph 
and Bacchus (V. Lefebvre); Don Quixote (Ch. Coypel). 

We now traverse a corridor hung with antique tapestry, and descend 
a staircase to another part of the building, containing the workshop of the 
Savonnerie which is conducted on practically the same lines as it was in 
the 17th cent., and contains eight looms. Here we see carpets in process 
of manufacture. In weaving the 'tapis de la Savonnerie' the workman has 
the copy in front of him and works on the right side of the tapestry. The 
weft threads in this case are tied and then cut, producing a velvet pile. 

The number of workmen (tapissiers artistes) now employed at the Gobe- 
lins is about 60. Beginners receive about 1200 fr. per annum, skilled work- 
men as much as 3300 fr., besides free dwellings ; foremen receive 4000-5000 fr. 
Some families have been employed for generations in this industry. The 
work requires the utmost patience and the most practised eye. A skilful 
workman can complete 3 or even 3 x /2 square yds. in a year, but the average 
annual task is about l'/4 yds. Many years are, therefore, sometimes re- 
quisite for the execution of the larger designs, and it is not surprising that 
these should fetch from 2000?. to 6000?. 

We leave the Gobelins by a court to the left, where an old Chapel 
is used as another exhibition-room. 

It contains two 17th cent, tapestries after paintings by Raphael: Mass 
ofBolsena; Heliodorue expelled from the Temple. Also some small copies 
of antique tapestry and small painted models, ten or so by Boucher; sketch- 
models by Rochegrosse, J. P. Laurens, Lansyer, Maignan (Daphne, p. 315), 



334 Left Bank 'J l. 0BSERVAT01RE. 

Fhrmaim, etc. Swias, Italian, Flemish, German and other models of the 15- 
L6th centuries. Above the altar is a Death of St. Louis, attributed to /.<• Brtm. 
In the Hue des Gobelins (PI. (J, 28), at the bottom of the Avenue, to the 
left, is an old turreted house (No. 17) erroneously called the Chateau de la 
Koine Blanche (mother of St. Louis), the adjacent Ruelle des Gobelins, to 
the left, contains an old hunting pavilion with carved doors. Close by are 
the .lanlins des Gobelins, where each workman cultivates a small plot, on 
the hank of the river Bievre, now almost entirely covered over. 

The Avenue des Gobelins leads to the S. to the Place d'ltalie 
[P1.G,23), where three boulevards and two other avenues converge. 
In the centre is a fountain. On the N. side is the Mairic of the l.Vh 
Arrondiasemeni (Gobelins), built in 1867—77. In the Salle des 
Manages are paintings by Q. Bonlanger. 

The Motropolitain makes the e'reuit of the Place d'ltalie underground. 
This is the chief Metro station on the left bank, and the point o( function 
of Lines 2 S, 5. and 6(Appx.. pp. 81,83,34). The entrance to the station is 
at the beginning of the Boulevard de la Gare. 

At "No. IS Bonl. Anguste-lUanqni is the Ecole d'Apprentissage 
E&tienne, a technical school connected with the book -trade. — To 
the S. is the Artesian Well of the Buttc-aux-Cailles (PI. t>, 23), bored 
in L864-98. It attains a depth of 1920 ft. and yields daily 2,700,000 
gallons oi' excellent water [81°Fahr.). 

The MoiifparHtisse Cemetery or the Gare Montparnasst (3 min. walk from 
the cemetery by the Boul. Edgar-Quiiiet) may be reached either by the Me- 
tropOlitain (Line 28; Appx., p. 81), by the omnibuses (>, Q, Z, or t/. or 
by the tramways TSl^ TSS^ TSS % Ftf4, or TS ; bis. — For the Arc cfe 
if (p. 888): omnibus and tramway T A l\ alighting at the. Eglise 
St. Pierre (PI. &> 17), and thence on foot (in lOmin.) by the Rue d'Alesia 
and Av. BfontSOUris (to the right); or by the Metro (see above") or the tram- 
way 'TO bis to the Place Denfert-Roonereau, whence the Av, Montsouris 
leads straight to the park. For omnibuses and tramways, see Appx., 
pp. 85, 39, s1 . — Ixcstaurants in this quarter, see p. 21. 

At the end of the Avenue de l'Observatoire, to the S. Of the foun- 
tain (p. 326), is the Carrefour de l'Observatoire [PI. G. 19), in the 
middle of which rises a monument , by Puecb, to Francis Garnnr 
[1839-73), the explorer and conqueror of Tonkin, with allegorical 
groups in bronze. The Statue of ZV«y, by Rude, to the right, marks 
the spot, where the marshal was shot by order of the Chamber of Peers 
en 7th Dee. . 1815, for having espoused the eanse of Napoleon I. on 
the return of the latter from Elba. To the left is the Bal Bullier 
[p. 42), gaudily decorated in terracotta, with the appropriate inscrip- 
tion: 'Saltavit et placuit'. 

The Avenue de TObservatoire crosses the Boul. Montparnasse 
[p. 336) and the Boul. de Port-Royal (p. 331; station on the Ligne 
de Sceaux, p. 40S) and farther on the Rue Pen fort -Rochereau, 
at the corner of which rises a monument to The ophite Roussct 
[1816-1903), the philanthropist, by Ohampsil [1907). The boulevard 
ends at the Observatoire QP1. G, 19, '20), in front of which is a 
statue of Le Vcrrier, the astronomer [18ll-77), by Ghapu. 

This celebrated institution occupies an edifice built by PerraitU in 1667-72 
and several times enlarged. The meridian of Paris (.COO' 9" E. of Greenwich) 



GARE MONTPARNASSE. Left Bank 21. 335 

runs through the centre of the building, and the latitude of the S. facade 
is held to be that of Paris (48° 50' N.). Tbe copper dome, to the left, which 
contains the large telescope (15in. in diameter, 30ft. long), is 42ft. in dia- 
meter, and is constructed so as to revolve round its vertical axis. Other 
pavilions on the 8. side are also equipped with astronomical instruments, 
including a powerful telescope with an aperture of 3ft. 11 in., and a photo- 
graphic telescope constructed by M. Henry. The depth of the cellars is 
equal to the height of the building itself (83ft.); they are maintained at a 
constant temperature (34° Fahr.) and are connected with the platform by a 
vertical shaft, in which meteorological and magnetic instruments are kept. 
This shaft was used by Foucault in his experiments with the pendulum 
(see p. 285). — The observatory is shown on the first Saturday of each month 
at 2 p.m. precisely, by permission of the director, M. Loewy (obtained on 
written application, with stamp for reply). Visitors are shown the small 
Astronomical Museum and the principal apparatus. 

The Boulevard Montparnasse (PI. G, 16, R, 13) leads to Notre- 
Dame-des- Champs, completed in 1875, and to the Boul. des Invalides 
(p. 311), passing on the way the Gare Montparnasse, at the 8. end 
of the Rue de Rennes, which begins at St. Germain-des-Pres (p. 295). 

The Gare Montparnasse (PJ. G, 16) is the joint terminus of the 
Chemin de Fer de V Quest, for the lines to Versailles (on the left hank) 
and to Brittany, and of the main system of the Chemin de Fer de 
I'Etat. The suburban (Versailles) booking-office is on the right, 
that for more distant stations on the left, whence a staircase ascends 
to the waiting-rooms on the first floor. — In the Place du Maine, 
behind the terminus, is a station of the Metropolitan! (Appx., p. 32). 

In the Rue Dutot (No. 25), about 1/2 M. to the S.W. of the Gare Mont- 
parnasse, is the Pasteur Institute (PI. G, 13), founded in 1886 by the 
eminent scientist of that name (18221895) for the study of microbes, vac- 
cines, and serums for infectious diseases. The present directors are 
Drs. Roux and Melchnikoff. — In front of the Institute |is the statue, by 
Truffot, of Jupille, the shepherd, struggling with a mad wolf. (Jupille was 
one of the first patients at the establishment.) Pasteur's Tomb lies beneath 
the platform, in a spacious crypt adorned with marble and mosaics; visitors 
are admitted on the 1st and 3rd Sat. in each month from 1 to 4 p.m., and 
on All Saints 1 Day. — Opposite are an Institute for Infectious Diseases and a 
Laboratory of Biological Chemistry belonging to the Pasteur Institute. 

To the S.E. of the Gare Montparnasse, between the Avenue du 
Maine, the Boulevard Edyar-Quinet, and the Boul. Raspail, is the 
Cemetery of Montparnasse. The Mfitropolitain has stations on the 
two last-named boulevards (Appx., p. 32); one at the end of the 
Rue de la Gaite, the other near the end of the Rue Gassendi (p. 336). 

The Cemetery of Montparnasse, or Cimetiere du #ud(Pl. G, 16), 
has its principal entrance in the Boulevard Edgar-Quinet. This is 
the third of the great Parisian burial-grounds. Compared with the 
cemeteries of Pere - Lachaise and Montmartre, it is uninteresting. 
Adm., see p. 243. A plan of the cemetery may he seen at the be- 
ginning of the main avenue, to the left. 

Near the entrance, on the right, Henri Martin (d. 1883), the historian. 
General Petit (d. 1856), sarcophagus with column and bronze bust, by Boitel. 
— At the beginning of the (transverse) Avenue du Nord to the right, Pi- 
erre Larousse fd. 1875), author of the well-known Dictionary, bronze bust 
by Perraud. Alle"e Lenoir f2nd transverse avenue), left, G. PMspail (d. 1893), 
bronze bust; Th. de Banville (d. 1891), poet, bronze medallion. To the right, 
at the end of the Allde, Bouguereau (d. 1905), the painter. 



336 /<•/( B, -:i. OKMKTKKY OF MONTPARNASSK, 

At the Rond-Point, o VoHHtowtik Sourcnir, commemorating those who 
h&ve no other monument. Then, on the right; DtseittM (d. 1827), designer, 
a bronae bust-, DiSiiru (d. L822), tho sculptor; Orjffa (.1 L853), the physi- 
oian, with a medallion and obelisk? left, Paul Ctt6d (d, 1876). sculptor, 

bust and relief; BOKO*©* (d. 1827), sculptor. Main walk, right. Chainlet 

id. 1810), sculptor 5 behind. .v-.v. rf« Garj (d. L878), statue by B, de Vaureal. 

The tower at the end, io the right, is an old mill, belonging to a eonveut 

of Freres de St. Jean-de>Dieu, A little before and to the left o( the tower, 

[d 1891), tragedian, bust by 11. QpOS. In the last division of 
the main walk, to ihe left at the end, and to the right of the 'Ohemin 
de deux metres', //. I\i::iiti-/.'.Uour (d. 1901), the painter. Near the Hond- 
Point, to the left, between a GrOthic chapel and tho avenue, (W»*ai*d(d, ISoTh 
(winter, pyramid with a medallion and bas reliefs Of two otitis paintings, 
by Dant&O ; nearer the avenue, ./. />'. Koty (d, UXM), the engraver. Then, 
to the right of the cross walk, a little back, Rutfa id. 18551, seulptor, with 
a tine brou.e bust by Oabet and a eopy of a relief by Rude. In the trans 
verSQ avenue, left. id, 1888), poet, bust in bron.egilt 

by Mme. Coutant Montorgenil (1903); to the right, fcsnard (d, 1842), theo- 
logian, with a medallion by Pavid d'Angors ; behind, farther baek. I 
Gamier (d, 1898), architect At the end of the avenue, by the wall, the 
monument of fiawdtfotrt (1821*67), the poet, his recumbent Qgure wrapped 
in a shroud, and above, the Qenius o( Kvil, by J. de Oharmoy (1902), 
Avenue de 1'Kst (at the end of the last): //. oV Styling (d. 1866), general ; 
bust in brOW e by CugQOt Farther up. to the right: L« Ytrrier (d, 1877), 
the astronomer. Opposite, ehapel of the Bingham Family. Beyond the Av. 
de l'Kst, on the left. A'omv/ t'lotsry, by DeshoiS. The Alice Knft'ct, whieh 
Crosses the Av. de FFst. contains, on tho right, the tomb of BdfOT Quinel 

id. L875), the author, and his wife; farther on, Ka: : <-t (d I860), the engraver, 
Near tho end of the Avenue de 1 Est, t,> ihe left, 0, Symton id. LSQo), the 

politician, whose death took plaoe under mysterious eircuinstances. The 
walk at the end, to the loft, also contains some interesting monuments: 

..-•:■/ (d. 18S4), sculptor, with bust by 0. J. Thomas. 

The newer part of the cemetery, on the other side of the l!uo Gasseudi, 
which intersects it, is connected with tho old by gates in the Avenues du 
l\ord and du Midi. On the left, Captain Mayor, killed in a duel by the 
Marquis de Mores in L892; the medallion bj Chaplain. Towards tho centre, 
at the corner of the Av. Thierry and tho Av. Transversale, rises a large 
monument to Soldiers who have died in defence of Franco. Opposite is 
one to P T reW MW who have perished in the execution of their duties. 
Behind the former, in the Avenue Thierrv. to the right, Piafcwlin, prefect 
of Strassburg (d. 1879), bron.e bust by Millet; iVs.:- rVone* (p. 902), the 
composer, sarcophagus with medallion by Rodin, At the back. Guy cU Mau- 
(d. 1893), the novelist, with a bron.-e book between two columns. 
Near it, to the left of the Av. Thierry, Barley d'Atircrilly (d, 1889). author. 
In re-descending the Avenue Thierry, to the right: Col. ffer6i*9«r id. L886), 
bust and relief bv Ftex. A little farther on, Barthouli (d. 1901), the sculp- 
tor, with an obelisk of red marble and a bion.e angel on tho point of 
taking Bight (designed by Bartholdi himself). Then, right, the Barboux 
.group by Barrias) and the \!.:'\- ..is-Layrave Family (chapel with 
bronie relief by B, 1 otourueauV At the next corner: ff< roelfc faiiiii: . with 
a seated female figure and reliefs by Ooutan. 1 ongepied. and Koty. To the 
left, G. JunJt id. iSS-O, the painter, with bust and statue by bartholdi. At 
the end of the Av. 1 euoir. bust of LtCOntt oV l.UU (p, 824), the poet. 

We return to the main portion of the cemetery by the Avenue du 
"NiTd. On the loft, /. Moulin, French consul in Saloniki, murdered in 
1S76. bust by Bogino. On the right, Th. Olivier id. L853), founder of the 
Boole Centtale des Arts et Manufactures, with a medallion. In the centre 
of the plot, Alb. Lummi id. 1884), archaeologist, stele and bust, by Thomas. 

In the adjoining part of the Avenue do TFst, to the left, is the mon- 
ument of ^\>:;:Y-A7 \;e id. 1869), the essayist and critic, a marble bust on 
a column, by .1. do Oharmoy (1908), To the right rises a rock with a 
medallion, marking the grave of A:..- Domis, 'representant du peuple". 
who was killed by the insurgents in June, 1S48. To the left, Boulay 



THE CATACOMBS, LeftBankfyL 337 

de la Meurlhc. father and son, Statesmen (d, IH'iO and 1868), the bust of 
the father !<y uavid d Angers. 'I ben, in the Avenue de ihst, on the right: 
flitop. £e&as (d.1887), architect. At, the end of the a venue de i ; K 3 t, to the 
right; Mine- Cdllard-Bigt < <\ . 1871), painter, a_pretty Renaissance temple i»y 
Destaillear and Donsi amy, witti a statue by BraneesehJ . ddjaeent Duban 
(d. 1870), architect, with a medallion; opposite, <y<w «w?fe iVAligny (d. 1871), 
painter, bust by Bteac, 

Between the avenues, near the office at Hie entrance, Comte d,e, Oat pari 
(d. 1879), eonsul In Venezuela, with a bronze stele and bust by C. Cesarf; 
I'l-rruud (d. 1870), sculptor, //itn bust, in the Avenue dn BTord, to the left, 
Jacqutt TAtfranc (d. 1847), surgeon an') professor, with a bust and reliefs 
by Elshoecht. Near the NVw. comer of the cemetery, /v. //?^< (d. 1£69), 
writer, with a medallion. • - In the Avenue de 1'Ouest, at the end of tbe 

Avenue Transvorsalo : DumOJlt (PUrvtlU (d. 1843), the navigator, who w:>.: 

burnt, together with his wife, In a railway* accident (see Inscription), 

The Place Denfert-Rochereau (PL G, 17), to the S.B. of the 
Afontparnasse cemetery, used to be called the Place d'Enfer, but 
the name was changed in honour of Colonel Denfert-Roohereav 
(1823-78), the valiant defender of Belfort. Jt is adorned with a huge 
Irfon in embodied copper, by Bartholdi, a replica of that erected at 
Belfort ('A la Defense Natlonale, 1870et7rl The two Pavilions 
belong to the Old city 'barricre' fcomp. p. 240); their frieze,:-; are 
worthy of notice. In the square beside the pavilion on the left is 
a statue, by Al. Charpentier, of Charlet (i 702-1845), the painter. 

and beside the pavilion on the right are a bronze statue, byMorice, 

Of /''. K. Ilatpad (1794-1878), the famous chemist and democrat, and 

a bronze bust, by Boucher, ofX. IVowfewa? (1840-1904), Senator of 

the Grironde, — Near the beginning of the Rue Froidevaux is a A/e/,ro 

Station (Appx., [). .\52). 

The Place Denfert-Rochereau is the con verging-pointof theiJoule- 
vards Jtaspail, Arago, and St. Jacques, the Avenues de Montsouris; 
(p. 338) and d 'Orleans, and several smaller streets. — The Bo«Z, 
Arago, where there is a bronze statue, by Oliva, of Francois Arago 
(1786-1853), the astronomer, begins at the Avenue des Oobelins 
(p. 331), and passes the Hdpttal Broca$&2 beds), the Prison de la 
Sante , and the Faculti de Thiologte Protestante (transferred from 
Strassbnrg), — The Station de Parts - Denfert, between the BouL 
St. Jacques and the Avenue de Montsouris. is; the principal station 
for the Ligne de Seeanx (p, 408). 

\n the court of the right-band pavilion of the Place Denfert-Rochereau 

is the principal entrance to the Catacombs (PI. G, 17j, to which visitor?-. 
are admitted at intervals (generally the 1st and 3rd Sat. of each month) 
by the special permission of the iJirccteur des Travaux, Hotel de Ville 
(enclose stamp for reply). Gael visitor must carry a torch, which may 
DC bought at the entrance (50 c.J, with a guard of cardboard, to protect 
the clothes from the melting wax. Overcoats and thick shoes are desir- 
able. The visit occupies about 1 hr., and the exit is usually made at 
No. 92 Rue Darean, near the Avenue de Montsouris (PJ. <), 20j. — The 
Catacombs were formerly subterranean quarries, worked as far hack as the 
Roman period. They extend under a great part of the quarters on the 
left bank. Several streets in the 8. quarters of Paris, situated above these 
quarries, having begun in 1.774 to show symptoms of sinking, steps were 
taken by government to avert the danger by constructing piers and but- 
tresses where the upper surface was insufficiently supported. About the 
Babdbkeb, Paris. 16th Edit. 22 



338 Left Bank 21. PARC DE MONTSOURIS. 

same time the removal u thither was ordered of the bodies from the Cemetery 
of the Innocents, and others which were closed at that period, to these 
subterranean quarries. The quarries were accordingly converted into a 
vast charnel-house, and called Catacombs. The 1 galleries and different 
compartments are completely lined with human bones and skulls, re- 
presenting, it is said, nearly six million bodies. 

The Avenue de Montsouris (PI. G, 17, 20, 21) lead3 direct to the 
Pare de Montsouris (see below). A more interesting though slightly 
longer route follows the Avenue cC Orleans to the modern church of 
St. Pierre de Montrouge (PI. G, 17), whence the Rue d'Ale'sia leads 
back to the Av. de Montsouris. At No. 15 in the Av. d'Orleans is 
the Hospice Larochefoucauld, a home of rest for hospital attendants 
and nurses, founded about 1801. This quarter is called the Petit- 
Montrouge. Grand-Montrouge, see p. 413. 

The second street to the right leads from the Avenue d'Orleans to the 
Place de Montrouge (PI. G, 17), with the Mairie of the 14th Arron- 
dissement (Observatoire). The square is embellished with a marble bust 
of the Republic, by Eaffier, and with bronze figures of a Torch Bearer by 
Steiner, a Horse attacked by a tiger by Fratin, and an Auvergnat Peasant 
by Mombur. 

The Pare de Montsouris (PI. G, 21), completed in 1878, affords 
an attractive public promenade for the S. side of the town, but is 
smaller and less picturesque than the Buttes-Chaumont on the 
N.E. side. It is about 40 acres in area, adjoins the fortifications, 
and is intersected by the Sceaux and Ceinture lines of railway. The 
principal entrance is at the corner of the Avenue Reille and the Rue 
Gazan. Near the entrance from the Av. Montsouris is a bronze 
figure representing '1789', by Aug. Paris. Higher up are the 
Straw BindeT and a Desert Tragedy, bronzes by Louis Pierre and 
Oardet. To the left, near the Sceaux railway, is a small Obelisk 
erected to Colonel Flatters and his companions, slain by the Tou- 
aregs in 1881 while making surveys with a view to the construction 
of a railway through the Sahara. At the foot of the hill is a lake 
fed by a small cascade. Above the lake, in front of a pavilion, is a 
marble group by Etex (Shipwrecked) ; on the bank, Laundress , by 
Choppin; and to the E. of the Observatory, the Staff of Age, a bronze 
group by J. Escoula. On the highest ground stands a reproduction 
of the Bardo, or palace of the Bey of Tunis, a picturesque Moorish 
edifice, now used as an observatory. The park commands an exten- 
sive view of Paris, particularly of the hill of Ste. Genevieve (Pan- 
theon) and the valley of the Bievre. Beyond the precincts of the 
city, to the S.E., are the Fort and Hospice de Bicetre (p. 408). — 
A military band plays in this park on Sun. in summer (p. 44). 

To the W., by the N.W. entrance to the park, lies the Reservoir de 
la Vanne, the largest in Paris (comp. pp. 251, 341), 7V-> acres in area, and 
capable of holding 8,200,000 cubic feet of water. The supply is drawn from 
the Vanne, a stream rising in Champagne, 93 M. from Paris. Visitors are 
admitted to inspect the reservoir ; entrance in the Rue de la Tombe-Issoire. — 
About 250,000,000 fr. (10,000,000*.) have been spent since the middle of the 
19th cent, on the water-supply of Paris, but the amount available in summer 
is still inadequate. 



,-«Chanldllv,Ci 




-umeau ArpajoR.-Etampes /-vCorbeil *•' *Mel\ixi 



Engl. Miles 



ENYIEONS OF PARIS. 



22. From Paris to St. Cloud and Sevres. Meudon. 

Visitors to these W. suburbs may choose among three lines of Rail- 
way, the Steamboat service (p. 344), and the Tramway. The steamboat is 
preferable in fine weather. — The Tramway (Ligne de Versailles, TAB, 
see p. 349, and Appx., p. 39j follows a somewhat uninteresting route 
through a busy and populous quarter; cars leave the Quai du Louvre 
every ^2 hr. or oftener (at 5 and 35 min. past the hour), the journey 
occupying 40-50 min.; fares, inside 50, outside 35 c. The lines to St. Cloud 
and Sevres diverge on reaching the Point-du-Jour. > — On Sun. and holi- 
days all modes of conveyance are apt to be overcrowded. 

Br Railway. 
I. Ligne des Moulineaux, 9 l /2 M. from the Gave St. Lazare (PI. B, 18; 
p. 213; on the left, 'Banlieue 1 ), in 30-40 min., fare 75 or 50 c. ; or 7 M. from 
the Gave des Jnvalides (PI. R,14, //; p. 302), in 20-25 min., 80 or 65 c. Trains 
run at least once an hour; some of them are provided with refreshment- 
bars (see the time-table). — This line is recommended in preference to 
the Ligne de Versailles (p. 341) because its stations at St. Cloud and Sevres 
are more conveniently situated. — Our description of the route begins at 
the Gare St. Lazare; for passengers from the Gare des Invalides the order 
is, of course, reversed. No reduction on return-tickets, which may be used 
for either terminus. 

The train passes under the bridge of the Placedel'Europe(p. 213). 
To the right is the goods-station, on the level of the bridge, to which 
the trucks are raised by elevators. We pass through a short tunnel. 
To the left is the Chemin de Fer de Ceinture. The fortifications are 
then traversed. ■ — 3 M. Clichy- Levallois. Clichy -la- Garenne, to the 
right, has 39,521 inhab. and numerous factories. The church was 
founded in 1612 by St. Vincent de Paul, once cure of Clichy. Le- 
vallois-Perret, to the left, adjoining Neuilly, has 58,073 inhab., 
largely workmen and employees. Yelodrome de la Seine, see p. 46. 

Tkamways (Appx., p. 40). From the Madeleine to Clichy and Asnieres, 
TND, TNDa, TNDb; to Levallois (station opposite Asnieres; ferry 5 c.) TNC. 

The train crosses the Seine. 

3 3 / 4 M. Asnieres {Cafes and Restaurants at the bridge and at the 
station), a village on the left bank of the Seine, with 31,336 inhab., 
is a favourite resort for boating and other amusements in summer. 
Behind the church is the Ecole Ozanam, occupying the 18th cent. 
Chateau d' Asnieres, with paintings by Boucher and sculptures by 
Coustou (visitors admitted). In the Place du Gymnase is a War 
Monument (1871) by A. Maillard. The Fontaine Jean-Jacques 
Rousseau, in the Place Rousseau, bears a bronze bust of the philo- 



t This section may be detached from the rest of the volume by opening 
the latter sharply before the Map and after the Index and running a sharp 
penknife down the gauze to which the sheets are fastened. 

22* 



340 Route 22. COURBEYOIE. Environs 

sopher, by Carrier-Belleuse (1886). The Jardin Modele d' Asnieres, 
irrigated with sewage-water, is accessible for visitors provided with 
an order from the Directeur de la Voie Publique (Prefecture de la 
Seine, Paris). 

Tramways (Appx., pp. 40, 45). From the Madeleine to Asnieres (Place 
Voltaire) and Gennevilliers (see below), TND; to Asnieres (Oarrefour des 
Bourguignons), TNBa, TNDb. From St. Cloud (p. 346) to Pierrefitte (p. 397) 
via Asnieres. 

The little He de la Recette or des Ravageurs, to the N. of the He de 
Robinson, contains the Dogs' 1 Cemetery (adm. 50 c), to the left of the bridge 
crossed by the tramway from Asnieres (see below). The monument of Barry, 
a St. Bernard dog, stands in the centre ; the inscription records that he 
saved the lives of 40 people, and was killed by the 41st. Quotations from 
Lamartine, Chamfort, etc., are inscribed; Pascal's runs thus 'Plus je vois 
les hommes, plus j'aime mon chien\ 

The tramway TND from Asnieres is continued to O/2 M.) Gennevilliers 
(10,056 inhab.) a village 2 M. from St. Denis (p. 330), I1/2M. from Epinay 
(p. 386), and 2 M. from Colombes (p. 390). The once barren soil of this 
peninsula formed by the winding Seine has been transformed since 1868 
into flourishing market - gardens by diverting to it part of the liquid 
brought hither by the great sewers of Paris (p. 196). The rest is carried 
under the Seine to be utilized for a similar purpose in the district between 
the river and the forest of St. Germain (p. 379) and at Mery (p. 395). Near 
Gennevilliers lies the hamlet of Villeneuve-la-Garenne. ■ — Steamboats ply 
from Asnieres to Puteaux - Suresnes (upstream) and to St. Denis -Epinay 
(downstream). 

4^2 M. Becon-les-Bruyeres, with the Chateau de Becon. Near 
it, on the left, is a colony of villas. Branch to La Garenne (p. 371). 

5 M. Courbevoie, a town with 25,330 inhab., contains numerous 
laundries, like other places on the Seine near Paris. The long 
building to the left of the station is a barrack erected by Louis XV 
for his Swiss Guards. Two hospitals (Cayla and Lambrechts) and 
an orphanage (Orphelinat des Arts) are situated here. The church 
with its rotunda dates from the 18th century. Elegant Hotel de Ville. 
Annual fetes on the first Sun. in May and June. — Beyond the station 
the line crosses an avenue that forms the direct continuation of the 
Avenues de la Grande-Armee and de Neuilly (p. 224). The Arc de 
Triomphe appears, 2 l / 2 M. distant. A rondel near the railway is 
embellished with a bronze group by E. Barrias (1883), commemorat- 
ing the Defence of Paris. 

Tramways (Appx., pp. '39, 44, 45). From the Place de TEtoile to Cour- 
bevoie (Suresnes) TNA. From the Madeleine to Courbevoie (Pont de 
Neuilly) TNAB; to Courbevoie (Pont de la Jatte) TNB. From Porte 
Maillot to Maisons-Laffltte, or from St. Cloud to Pierrefitte, via Courbevoie. 
See also p. 373. 

6 M. Puteaux, with 24,341 inhab., chemical and dye-works, 
artillery works, etc., and a church of the 16th cent, is united by a 
bridge across the Seine with the Bois de Boulogne and Neuilly. 
The annual fete is held on the 2nd Sun. in Sept., when a 'rosiere' is 
crowned. 

Tramway from the Pont de Puteaux to St. Augustin, TNAJ (Appx., 
p. 40). See also tramways to Courbevoie (see above). 

The Ligne des Moulineaux diverges here from the line to Ver- 
sailles (p. 341). We obtain a comprehensive view of Paris, the 



of Paris. VILLE D'AVRAY. 22. Route. 341 

Bois de Boulogne, and the Seine. To the S. are the woods of Men- 
don and Clamart. The line descends towards the Seine, traversing 
a short tunnel. 

7^2 M. Suresnes (see p. 347). To the right rises Mont Valerien 
(p. 348). The station is y 4 hr. distant from the line to Versailles. 

9^2 M. Pont-de-St-Cloud, the principal approach to the town of 
St. Cloud for travellers coming from Paris (see below). 

The line passes through a tunnel and a cutting, passes Boulogne 
(p. 346; to the left), and skirts the park of St. Cloud (on the right), 
in which the cascade is visible. — 10 M. Pont-de-Sevres, station 
in a cutting near the porcelain-factory (p. 345). — The station of 
Bellevue-Funiculaire lies at the foot of a small cable -railway to 
Bellevue (p. 344). — 11 M. Bas-Meudon (p. 343). 

12 M. Les Moulineaux, a dependency of Issy (p. 342), on the 
left bank opposite Billancourt. — To the right are Issy and the line 
to Versailles via Viroflay. We now pass under the Chemin de Fer 
de Ceinture, enter Paris, and stop at the stations of Javel (at the 
Pont d'Auteuil; p. 235), Pont Mirabeau (p. 235), Pont de Orenelle 
(p. 234), Avenue de la Bourdonnais (station for the Champ-de-Mars, 
p. 312), and Pont de VAlma (p. 225). Then, beyond a deep cutting, 
we reach the Qare des Invalides (p. 302). These last stations are also 
on the line from the Gare des Invalides to Versailles (see p. 348). 

II. ligne deVersailles (Rive Droite) from the Gare St. Lazare (PL B, 18; 
p. 213). Booking-office and fares as for the Ligne des Moulineaux, see p. 339, 
Trains every hour or oftener. 

To (6 M.) Puteaux, see pp. 339, 340. — 71/2 M. Suresnes (see 
above & p. 347); the station is in the upper part of the village, 
nearer Mont Valerien. 

9^2 M. St. Cloud-Montretout. The station is situated above 
the town, which is reached by steep streets, near the new quarter 
of Montretout (on the right, p. 346), the name of which recalls the 
last great sortie made by the Parisian troops on Jan. 19th, 1871. 

At the end of Montretout nearest to Suresnes, to the left of the Boule- 
vard de Versailles, is the huge Reservoir de Montretout, or de VAvre, con- 
structed in 1893, with two basins, each capable of holding 3,280,000 cubic ft. ; 
the water is brought from the Avre and other affluents of the Eure by an 
aqueduct 63 M. in length. — The St. Cloud Racecourse (p. 45) is situated 
at some little distance in the rear. On race-days special trains stop at a 
platform V* M. from the entrance. A little farther on, about 1 M. from 
the Pont de Suresnes, is the station of Vol oV Or- St- Cloud (p. 348; see Appx., 
p. 44). 

Beyond St. Cloud we thread a short tunnel, and pass on the 
right a branch-line to Marly-le-Roi and St. Germain (p. 373). Then 
a longer tunnel. 

10y 2 M. Sevres - Ville - d' Avray (Restaurant de laChaumiere,'bY 
the ponds, p. 342), near the charmingly-situated village of Ville 
d'Avray, is 20-25 min. from the porcelain-factory. To the E. of the 
station is the Villa des Jardies, once occupied by Balzac (d. 1850) and 
later by Gambetta, who died there on Pec. 31st, 1882. His bedroom 



342 Route 22. OLAMART. Environs 

is shown. A Monument, by Bartholdi, with a statue of Gainbetta 
and figures of Alsace and Lorraine , rises behind the villa , and 
contains the heart of Gambetta. The Church, on the left of the road 
from Sevres (see the Map, p. 346), contains models of statues by Pra- 
dier, Rude, and Duret; a St. Jerome and several small pictures by 
Corot; an Ecce Homo by Aug. Hesse, etc. In the middle of the 
village stands a Chateau, dating from the end of the 18th century. 
Near the end of the Rue de Versailles, to the left, are the pictur- 
esque Ponds and a Monument to Corot (1796-1875), in whose paint- 
ings they figure so often. Close by is his father's country-house, in 
which the artist usually spent the summer. 

Extension of the line to Versailles, see p. 348. 

III. Ligne de Versailles (Rive Gauche). Trains every hour from the 
Gave ifontparnasse (PI. G, 16: p. 335; on the right, 'Banlieue'), to 3feudon, 
in 20 min. (60 or 40 c); to Sevres, in 25-30 min. (75 or 50 c). Passengers 
alight at Bellevite (same fares), the nearest station to the porcelain-factory. 
No reduction on return-tickets. 

This line crosses and corresponds with the Chemin de Fer de 
Ceinture at the (i 1 /* M.) Ouest-Ceinture station (see Appx., p. 46). 
— 2M. Vanves-Malakoff, between Vanves, to the right (see below), 
and Malakoff (p. 408). On the left and right of the line rise the 
forts of Vanves and Issy. 

3 M. Clamart-sous-Meudon. The station is l /j M. to the N. 
of the village, to which an electric tramway plies (10 c). At the 
W. end of the village, on the left, near the church and the wood, 
is the Hospice Ferrari, for about 100 old men, built by the Duchesse 
de Gallicra (p. 226), and endowed by her with a sum of 8000/. 
A monument in the Place Marquis commemorates the founders of 
the Hospice Schneider. Pretty walk to the Bois de Clamart, to the E. 
of the Bois de Meudon. 

Clamart is connected with Paris also by a Tramway (TS2; Appx., 
p. 41), starting in the Place St. Gerniain-des-Pre's (p. 294); the journey 
occupies 1 hr. 8 min., fare 45 or 25 c. This tramway passes Issy-Les-Mou- 
lineaux (16,039 inhab.), served also by the steamboat-stations Point du 
Jour and Pont de Billancouit (Appx., p. 4S). In the Rue Ernest-Eenan 
at Issy is the new building cf ihe Manufacture des Tabacs, transferred 
bither from the Q.uai d'Orsay iu 1901. This establishment employs about 
i'-'OO people, of whom 1C00 are women, ami products about 2200 tons of 
tobacco yearly. Visitors are admitted on Thurs. (public holidays excepted), 
on applying shortly before 2 o'clock. 

The Champ de Manoeuvres d'lssy (PI. G, 5), for the garrison of Paris, 
lies towards the Seine (p. 344; adm. prohibited). The tramway then skirts 
the Lycie Michelet (PI. G, 9), in a chateau of the Conde's built in 1698, and 
traverses the village of Vanves (10,915 inhab.). 

Tramways (see above, and Appx., pp. 41, 43). From St. Pbilippe-du- 
Roule to Vanves, TS5. From Porte d'Orle'ans to Porte de St. Cloud, via 
Issy and Vanves. 

The line skirts the hills above the Seine. Fine view, to the 
right, of Paris and the river a little before Meudon and at Bellevue. 
The train crosses the river by a viaduct 1*20 ft. high, above the line 
from Paris to Versailles via Viroflay (p. 349). Above, on the left, 
is the Orphelinat de Fleury (^p. 34c). 



of Paris. MEUDON. 22. Route. 343 

472 M. Meudon-Val-Fleury. — The Station lies to the N.E. of 
the terrace. It may he reached also by the Ligne dea Moulineaux (p. 339) 
or by steamboat as far as the station of Bellevue-Funiculaire, whence a cable- 
tramway (10 c; Sun., tip, 20c.) ascends to within 1 M. (to the N.) of the 
terrace. 

Caf£8-Restaukants: at Meudon, in the Avenne de Mendon or da 
Chateau and at the upper station. In the wood: at the Ermitage de Ville- 
bon, l'/2 M. from the terrace, on the S.W., and at the Captulerie (p. 344). 
Meudon is famed for its friturex and mateloltes offish, the former being 
prepared like whitebait, the latter served with a brown sauce. 

Meudon, a small town with 9702 inhab. , consists of Meudon 
proper, on the slope of the hill which is crowned by the chateau; of 
a new quarter near the station of Meudon, with numerous piettily 
situated villas ; of Bas-Meudon, on the hank of the Seine (steam- 
boat-station), with several manufactories, glass-works, etc.; of Le 
Vat, to the E., a little higher up; and of Fleury, with its large 
orphanage founded by the Duchess of Gallie'ra in 1885, on the slope 
of the Bois de Clamart (see p. 342). Rodin, the sculptor, has his 
studio here. 

The seigniory of Meudon is of venerable origin. In 1552 it came into 
possession of Card, de Lorraine, who built himself a splendid chateau 
(designed by Ph. Delorme). In 1695 the property passed into the hands 
of Louis XIV, when it became the residence of the Dauphin, who em- 
bellished it, and also built a smaller chateau in the neighbourhood, which 
he had designed for him by J. H. Mansart. The Dauphin died at Meudon 
in 1711, as did a later dauphin (the eldest son of Louis XVI) in 1789. 
The chateau of Delorme was demolished in 1803. The second chateau, 
afterwards occupied by the Empress Marie Louise, the King of Rome 
(1812), and lastly Prince Napoleon, son of the former king of Westphalia 
(d. 18C0), was set on fire by a shell during the bombardment of Paris in 1871. 
From the battery which the Germans mounted on the terrace they could 
throw shells into the fort of Issy and on to the city-ramparts. 

The Terrace and the Bois are the chief attractions of Meudon. 
At the intersection of the Avenue Jacqueminot, which leads from the 
station, and the Rue de la Republique, which traverses old Meudon, 
is a modern Monument of Rabelais C1483-1553), who after his many 
wanderings was appointed by Card, du Bellay, in the last year of his 
life, cure" of Meudon; the bust, in bronze, is by Trupheme. The 
Avenue Jacqueminot ends at the Avenue de Meudon (or du Chdteau), 
bordered by four rows of lime-trees, which begins at Bellevue 
(p. 344), beyond the railway on the left bank, about l /2 M. from the 
terrace. At the beginning of the latter is a Monument du Centenaire, 
a symbolical bronze bust by G. Courbet (1889). 

The *Terb.ace of Meudon, supported by huge walls, commands 
a beautiful view of Paris, similar to that obtained from the top of 
the park at St. Cloud (p. 347). The Chateau, at the end of the 
terrace on the right, was restored after 1871 and fitted up as an 
Observatory. The public are not admitted. 

The Bois de Meudon lies on the heights to the "W. of the terrace, 
and extends as far as the valley of Sevres, Chaville , and Yiroflay, 
and along the heights beyond the dale of Meudon, this latter part 
being also named the Bois de Clamart (comp. p. 342). The wood is 



344 Route 22. BELLE yuE. Environs 

intersected by pleasant paths (finger-posts). — From the terrace the 
wood is reached by ascending an iron staircase against the wall on 
the S. and then traversing the Park, the rest of which is not open to the 
public. From the lower end of the Avenue de Meudon we ascend by the 
Pave* des Gardes and join the routes from Sevres at the Capsulerie. 
The old Etang (pond) des Fonceaux and the Etangs de Villebon and 
de Triveaux are very picturesquely situated. The Pare de Chalais, 
to the S. of Meudon, encloses the School of Military Aerostatics. 

6 l J2 M. Bellevue (Pavilion de Bellevue, near the cable -railway, 
a first-class hotel; Hotel-Restaurant de la Tete-Noire, near the ter- 
race), which has numerous villas, owes its origin to a chateau of 
Mme. de Pompadour (1750). The best point of view is at the N.E. 
end of the Avenue Melanie (see the annexed map). Farther to the 
S.E., near the railway-station and the Bellevue -Funiculaire cable- 
railway (p. 343), is a tasteful bronze fountain with a Bacchante, by 
C. Theunissen. 

The Rue de Bellevue, which crosses the last-named avenue before it 
changes its name to Avenue de Bellevue, ends at the (1 M ) main street 
of Sevres, */* M. from the bridge (see below). 

6 M. Sevres (see below). The station lies above the town to the S. 
Descending the Grande-Rue and then turning to the right as we ap- 
proach the Seine, we reach the entrance to the porcelain manufactory. 

Continuation of the line to Versailles, see p. 349. 

Br Steamboat. 
Steamers (see Appx., p. 48) start from above the Pont-Royal (PI. R, 17) 
every l j* hr. in summer, but less frequently at other seasons. The jour- 
ney takes 1 hr. with and l x /4 hr. against the stream ; fare 20 c, on Sun. and 
holidays 40 c.j from Suresnes to St. Cloud (2 M.) on Sun., 25 c. Tbe hour 
at which the last steamer starts is posted at the piers. 

Stations within Paris, see the Appendix, p. 48 (also the large 
Plan in the Appx.). — At the lower end of the Allee des Cygnes 
is Bartholdi's statue of Liberty enlightening the World (p. 234). 
Farther on the Pont d' Auteuil with its viaduct forms an imposing 
feature. A fine view is afforded shortly of the hills of Meudon and 
the dome of its observatory, of the Orphanage of Fleury (p. 343), 
St. Cloud with its handsome campanile, and Mont Valerien (p. 348). 
To the left is the Champ de Manoeuvres dTssy (p. 342). We pass the 
lie St. Germain, with its military stores. Les Peupliers and Bil- 
lancourt, to the right, adjoining Boulogne (p. 346). To the left, 
Les Moulineaux, with Issy (p. 342). The steamer steers between 
the He St. Germain and the lie Seguin, on which is a pigeon- 
shooting ground. — Bas- Meudon (pier); ascent to Meudon, see 
p. 343. — Bellevue- Funiculaire, where visitors to Meudon disembark 
and ascend by the cable-tramway to Bellevue (10 c, Sun. 20 c). 

Sevres. — The steamboat-pier lies above the bridge, where the Louvre- 
Sevres - Versailles tramway stops (pp. 339, 349). — Just below the bridge is 
the station of the Ligne des Moulineaux (p. 341). — Other railway-stations, 
see p. 341 and above, 



' A r ei- s ailTes 




of Paris SEVRES. 22. Route. 345 

Cafes-Restaurants (all unpretending). Gaf^- Restaurant du Nord, Place 
du Pare 9, near the porcelain- factory (dej. 2V2, D. 3 fr. 5 also a la carte) ; 
Gafi de la Terrasse, Grande-Rue 27, at the Avenue de Bellevue, facing an 
entrance to the park of St. Cloud (dej. 2 x /2, D. 3 fr.); Estaminel Parisien, 
Grande-Rue 61, opposite the Hotel de Ville. — Temperance Restaurant, 
Grande-Rue 6. 

Porcelain Manufactory (see below). The Collections are open to the 
public daily (12 to 4 or 5), except Jan. 1st and July 14th. 'Guide du 
Visiteur 1 , 1 fr. 5 detailed catalogue by E. Garnier (1897), 6 f r. — The Work- 
shops are open to visitors onMon., Thurs., & Sat. (12 to 4 or 5), by tickets 
obtained on written application (stamp for reply) to the Secretariat des 
Beaux-Arts, Rue de Valois 3 (Palais-Royal), Paria, or to the manager at 
the factory; but those without tickets are generally able to join a party (fee). 

Sevres, one of the oldest towns in the vicinity of Paris, with 8216 
inhab., is situated on the left hank of the Seine and on the road to 
Versailles. The Hotel de Ville, about i / 2 M. from the bridge, in the 
Grande-Rue on the right, is an old palace of the dukes of Brancas, 
with carved wood-work, paintings, and sculptures, restored since 
1892. The celebrated — 

*Pobcelain Manufactory was founded in 1738 at Yincennes 
by the brothers Dubois, assisted by a royal subsidy. Transferred to 
Sevres in 1756, it has been the property of government since 1759, 
and now (since 1876) occupies a building in the park of St. Cloud, 
near the bridge. Adm., see above. 

The produce of the factory was at first confined to soft porcelain, and 
these early specimens ('Porcelaine de France', or 'Vieux-Sevres 1 ) were highly 
prized. In 1710, however, the hard porcelain of Dresden began to oust it 
from the public favour, but the timely discovery of a deposit of kaolin 
near Limoges soon enabled the Frenchmen to compete on even terms. In 
1769 the chemist Macquer submitted to the Academie des Sciences the first 
successful specimens of hard porcelain produced at Sevres. Louis XV, 
the Marquise de Pompadour, and the Comtesse Dubarry took the keenest 
interest in the new departure, and certain shades of colour were named 
in their honour ('bleu de roy 1 , 'rose Pompadour', and 'rose Dubarry 1 ). 
Under Louis XVI and Napoleon I. the fashion reverted to the more classic 
forms. Within recent times improved methods of manufacture have given 
a new impetus to the industry. 

The pediment of the principal building, in front of which is a 
bronze statue of Bernard Palissy (1510-89), after E. Barrias, is adorn- 
ed with a large mosaic. The four rooms on the groundfloor, to the 
right, contain an ^Exhibition of Modern Products, some of which are 
for sale (prices marked), while on the first floor is the Musee Cera- 
mique, founded in 1805 by A. Brongniart (d. 1847), and added to 
by Rocrieux (d. 1872). Guide to the musee, by G. Papillon, the 
curator, 1 fr. (1904). 

We ascend the staircase, on which are two bronze figures, representing 
'Porcelain 1 , by E. Guillaume, and 'Sculpture 1 , by J. B. Germain, and enter 
the Salon d'Honnedr containing several of the largest and most remark- 
able vases made at Sevres (including the Vase Neptune, 10 ft. high) and 
four pieces of Gobelins tapestry relating to the processes of manufacture. 
Five glass-cases contain specimens illustrating the history of the manu- 
facture at Sevres. The collection is arranged in the two galleries at the 
sides, beginning on the right. The exhibits bear explanatory labels. — 
Gallery on the Right. Right side: Antique, mediaeval, and modern 
pottery from various countries. Room at the end: Porcelain stoves, one 



346 Route 22. ST. CLOUD. Environs 

a model of the Bastille, presented to the Conventional Assembly. A central 
case contains recent acquisitions. In a case by the window are porcelain, 
translucent enamels, glass, fayence, and earthenware of diverse origin. Left 
side, as we return: enamelled fayence, etc. — Gallery on the Left. Bight 
side and end-cabinets : enamelled fayence, hard Chinese porcelain, earthen- 
ware and porcelain from Japan, lacquered terracotta; modern tomb in 
fayence from Bombay. A small room to the right contains some very 
fine French and foreign china. 1st Cabinet on the left : Glass and enamels 
on copper. 2nd Cab. Porcelain from Saxony, Berlin, etc. Left side. 
lst-3rd Bays. Sevres porcelain of the i8th OVieux-Sevres') and 19th cent. ; 
Sevres enamels (1845-75). 4th and 5th Bays: Painted china from Sevres (the 
plain pieces are models). 6th Bay: Experimental pieces by various pro- 
cesses. 7th Bay: Models in terracotta for works in 'biscuit 1 china (1750- 
1800). 8th Bay: Painted plates (1846). 8th Bay: Terracotta models for 
reproduction in 'biscuif; jardiniere designed by J. Che'ret (1882). — Central 
cases: Swiss, Saxon, Russian, and Dutch porcelain (18-19th cent.) 5 French 
and foreign porcelain (17-19th cent.). 

A corridor on the ground-floor leads to the Workshops. A few rooms 
only are shown (fee), and visitors are not allowed to see much of the pro- 
cess of manufacture. 

The steamer now passes under the bridge and, crossing to the 
right hank, stops at — 

Boulogne, a town with 44,416 inhab., which possesses a hand- 
some chnrch of the 14th and 15th cent., restored in 1863 and pro- 
vided with a spire. Farther on, to the right of the main street, the 
Salle des Fttes, and a statne of Bernard Palissy, in bronze, by 
E. Barrias (comp. p. 345). To the right, beyond the attractive 
mansions on the quay, we have a line view of St. Cloud and Mont 
Vale'rien (p. 348). 

Tramways (Appx., pp. 38, 43, 39). From Boulogne to Auteuil and 
the Madeleine, TO; from Boulogne to Les Moulineaux, TR. Tramways 
Ouest and de la Rive Gauche. See also p. 349 (TAB). 

St. Cloud. — The Steamboat Pier is near the bridge. — The terminus 
of the Tramway from the Louvre to St. Cloud (pp. 339, 349) is in the Place 
d'Armes , near the bridge. — The station of the Ligne des Moulineaux 
(p. 341) lies on the N. — Stat, on the Ligne de Versailles, see p. 341. 

Hotels. Hotel be la Tete-Noire (dej. 4, D. 5 fr.), Pavillon du Cha- 
teau (dej. 3, L\ 3'/2 fr.), both in the Place d'Armes. — Cafes-Kestaurants. 
Pavilion Bleu, Place d'Armes (first-class); du Palais, Avenue du Palai3 (un- 
pretending; a la carte). — Gaufres, a kind of light pastry, are sold in the 
bakers 1 shops near the park (p. 347). 

A Tramway Mecanique runs from St. Cloud to Pierrefitte (p. 397; 
12V2 M.), see Appx., p. 45. 

The Grandes Eacx (i.e. all the fountains together) play twice a month 
from May to Aug. on those Sundays when there are no Grandes Eaux at 
Versailles (p. 348), and every Sun. in Sept. during the Fete des Mirlitons 
(see p. 347). — Military Band in the Park (p. 347) on Sun. and Thurs. in 
summer, 3-4 or 3.30-4.30. The only carriage-entrances to the park are 
in the Avenue du Palais ; tickets (1 fr. for each vehicle) must be obtained 
at the tobacconist's to the right of the lower entrance. 

St. Cloud, a small town (7195 inhab.), rises in an amphitheatre 
on the left bank of the Seine; the modern quarter of Montretout 
(p. 341) is situated on the height above. It owes its name to a monas- 
tery founded here by St. Clodoald (522-560), grandson of Clovis, and 
its importance to its chateau, destroyed in the war of 1870. 

The Palace was erected in 1572 by a wealthy citizen. In 1658 it 
was purchased and rebuilt by Louis XIV from the designs of J. H. Man- 



Tr.,Al'oh»i Ju Joi 




■• loa-JI-ATJWK 



,ilr FJnt.-Mi'uihni , Stat.dl- Mi-uilon 



SIM , <i«- M- 




of Paris. ST. CLOUD. 22. Route. 347 

sart and A. Lepautre. The Council of Five Hundred held their meet- 
ings there, when on 9th Nov., 1799, Bonaparte dispersed the assembly, 
and three days later caused himself to be proclaimed First Consul. Napo- 
leon, when emperor, frequently stayed at St. Cloud. In 1815 the second 
capitulation of Paris was signed at the chateau, and in 1830 Charles X 
issued thence the famous proclamations abolishing the freedom of the 
press, dissolving the Chambers, and altering the law of elections, which 
caused the revolution of July. St. Cloud afterwards became the prin- 
cipal summer-residence of Napoleon III. 

From the Place d?Armes (tramway stat., p. 339), at the bridge, 
the Rue Dailly and then the Rue Vauguyon (to the left) lead to the 
Hotel de Ville and the Church. The latter, a modern Gothic edifice 
with a tall spire, has frescoes in the choir by J. Duval-le-Camus (Life 
of St. Clodoald). The Gothic arch on the house opposite the church- 
porch is a relic of the ancient church. In front of the church is a 
Bust of Gounod (p. 222), by Carpeaux (1907). — The Grande Avenue 
and the Avenue du Palais to the left of the Place d'Armes lead to the 
park and terrace. Foot-passengers follow the former (the lower one). 

The*PARK of St. Cloud, 970 acres in area, is but little fre- 
quented during the week. In the lower part is the Grande Cascade, 
designed by A. Lepautre and J. H. Mansart, and adorned with 
statues of the Seine and the Marne. The '■Jet Geant\ or great jet, 
to the left of the cascades, rises to the height of 138 ft. The festival 
of St. Cloud (File des Mirlitons), he 7 d in the upper part of the park, 
lasts for five weeks in September and October. Another annual 
fete takes place in the spring (first three Sun. in May). 

The path ascending on the right of the cascade leads to the 
Terrace of the former palace, the ruins of which were cleared away 
in 1893, and the Trocadero, or old private garden, with the old 
Pavilion du Prince-Imperial (cafe). — The Allee du Chateau, to the 
S. of the terrace, leads in 5 min. to a platform commanding a beau- 
tiful *View. The platform is still known as the 'Lantern e de 
Diogene', from a belvedere-tower, which was destroyed in 1871 but 
is shortly to be rebuilt. (On the right, the Chalet de la Lanterne, 
with rfmts. and 'gaufres'.) The Seine, with the Pont de St. Cloud 
on the left, lies below; fringing its bank is the small town of Bou- 
logne , beyond which is the Bois de Boulogne ; farther on are the 
Arc de Triomphe and, in the background, Montmartre with the church 
of the Sacre-Cceur; the Trocade'ro and the towers of St. Yincent- 
de-Paul rise high above the ocean of houses, while more to the 
right are seen the Eiffel Tower, the Giant Wheel, the gilded dome 
of the Invalides, St. Sulpice, the Pantheon, the Val-de-Grace, and, 
farther still to the right, the Viaduct of Auteuil. — From the S. end 
of the Avenue du Chateau we may descend by the path on the left 
to the main road of Sevres, passing the Pavilion de Breteuil, seat of 
the 'Commission Internationale du Metre' (no adm.). 

The broad AlUe de la Pyramide, in the centre of the 'Lanterne 1 , leads in 
7* hr. to Ville-d" Avray, on the Ligne de Versailles (Rive Droite), see p. 348. 

The boat goes onto Suresnes (//ot. de Suresnes; Moireau; du 



348 Route 23. CHAV1LLE. F.nrinms 

Chalet; Ca fit- Restaurants at the bridge), a place with 11,225 inhab., 

on the left bank of the Seine, at the base of Mont Yalerien (630 ft.), 
■which ever since 1830 has been strongly fortified. The Ligne de 
Versailles (Hive Droite) and the Ligne des Moulineaux (p. 339) both 
have stations here, ; ' 4 M. apart; between them is the Maine (1889). 

Suresnes is also a station on the tramway between Neuilly (Porte Maillot, 
n. 223) and Val-iVOr-Sl-Cloud (p. 341), to the N. of Montretout (see 
Appx., p. 44). 

Below the look at Suresnes is the pier of the Bateaux-Omnibus Subur- 
bans, which descend the river as far as Epinay (p. 394), passing Asnieres 
(p. 339) and St. Denis (p. 380). Tramway from St. Cloud to Pierre 6 tte, 
connecting at Courbevoie with that to the Place de FEtoile, see p. 346. 

23. From Paris to Versailles. 

The Palais or Chateau dc Versa/Hies is open daily except Hon. and certain 
holidays (see p. 94) in summer (April-Oct.) from 11 to 5, and in winter 
from .11 to 4. The Gardens are open all day from 10 a.m., but certain 
shrubberies are closed between Oct. and May. A bell rings at dusk, >/■» hr. 
before the closing of the gates. The Grandes L'au.r Ju Pare (p. 366) play 
from 4.30 to 5.-15 p.m. on the first Sun. in each month from May to 
October inclusive, also on the Sun. after Juno 24th (Fete lloche), on July 
14th (Fete Rationale), and on Aug. 35th (Festival of St. Louis). The annual 
Fete de Nuit is celebrated at the Bassin de Neptune at 9 p.m. on the 
Sun. after July 14th. The Grandes Faux de Trianon (p. 369) play from 4 
to 5 p.m. on the third Sun. in each month from May to September. The 
dates are advertised beforehand. (On these occasions trains run nearly every 
5 min. towards mid-day in line weather.) — Those who can pay only one 
visit to Versailles should start early and visit the gardens before the 
opening of the palace. The Trianons (p. 369) may be seen up to 6 p.m. in 
summer. 

Br Railway. 
By the Ligne des Invalides- Versailles. — From the Gare des limit ides 
(PI. R. 14, II; p. 302), trains run from 5 a.m. to 12.30 a.m., returning up 
to 11.30 p.m. This is an electric railway, and the carriages (refreshment- 
bars) are heated in winter. Attractive .journey of */■> hr. Fares 1 fr. 35 or 
90 C.; return-ticket 2 fr. 70, 1 fr. 80 c. Views of the Seine on the right. 

To Javel, see pp. 339-341. — 4'/-2 M. Issy, with its military exer- 
cise- ground, which we cross by a large viaduct, — frfeM. Maidon-Yal- 
Fteury (p. 343). The train passes under the park and forest of Mention 
through a tunnel 2 M. in length. — S'/o M. Chat iUe-Velhy (see 
below). — 10 M. Yirofhvy (p. 349). — 11 M. Yersai'les; the station 
(on the left bank, see Plan) is 1/2 M. from the Palace (by the Avenue 
de Seeaux, on the left, and the Place d' Amies). 

By the Ligne de la Rive Droite, bli/2 M., in 35-50 min. ; fares 1 fr. 50, 
1 fr. 15 c. (no reduction on return-tickets, which are available on the 
day of issue only). The trains start from the Gare St. Lazare (booking- 
office and waiting-rooms to the left) every hour or oftener. Extra trains 
on Sundays and holidays. — Some trains go to and from the Gare des 
Ghantiers (p. 349), without passing the station of the right bank; fares by 
these, 1 fr. SO, 1 fr. 20 c. — Views on the left. 

To (IO1/2 M.) Sevres -Yille-d'Avr ay, see pp. 339-341. — 12 M. 
Chaville, near the Bois de Ville-d'Avray, Fausses- Reposes, and 
Chaville (seethe Map, p. 335). — 13 M. Viroflay. To the left, 
farther on, is seen the Viaduct which crosses the highroad and unites 



JRocgi 




f La Cell e 




Of Park. VERSAILLES. 23. Route. 349 

the linos Of the right and Left banks. The trains to the Gare de.-: 
Chantiers cross this viaduct. — 14*/2 M"- Versailles (Gare de la Rive 
Droite), or (15 M.) Garc deg Chantiers (gee below). 

By the Ligne de la Rive Gauche, 11 M.. in 80-40 m\n.\ fare* 1 fr. 85, 
90 C. The trains sfart (at least once an hour) from the 67«re MonlparnaKne 
(J'J. G, 16; pp. 82,885). Beat views to the right. 

To (6 MOAvttf, see pp. 342-344. — 8 M. Chaville. To the right 
is the line on the right hank with its viad act f see p. 348). S l U M. Vi.ro- 
ffay, where we join the linel'rom thelnvalides (see p. ;'AH). — 11 M. 
Versailles (Gare de la Rive Gauche or Gare deg Chantiers: see belowj. 

V,Y TliAMWAY. 

The Tramway (TA/i, see p. 338 and Appx,, p. 80? 12 M., in ltyj hr.), 

Which in driven hy compn; ;.';'! air, stop;-; only at the regular stations. I'ai< ■/., 
inside 1 fr. (including corre.-tpondanee), outside 85 e. Two or three cars are 
coupled together, the first going to St. Cloud, the others to Sevres and 
Ver ailles. Departures from the <,|uai da Louvre at 5 and 35 m in. past each 
hour. Return from Versailles at 15 and 45 min. past each hour. 

The united lines to St. Cloud and to Sevres and Versailles skirt 
the Quaig du Louvre, des Tuileries, de la Conference, Debilly, and 
de Paggy, and follow the Avenue de Versailles as far as the Point- 
du-Jour (PL G, 1), where the front carriage is switched on to the 
Boulogne and St. Cloud branch-line. The rear carriages pursue their 
journey to Sevres fp. 344), Chaville, and Viroflay, where we pass under 
the viaduct of the In vali des- Versailles line. We reach Versailles by 
the long avenue from Paris, which ends at the Place d' Armeg (p. 351). 

Br Mail Coach, see p. 30. 

VERSAILLES. 

Arrival. The Station of the Rive Droite Line, in the Rue du Plessis 
(p. 351), is about z j\ M. (tramway), the Station of the Rive Gauche Line, 
between the Avenue de Paris and the Avenue de Sceaux, about '/u M., and 
the Gare des Chantiers, more to the S.E., 1 M. from the palace. Special 
omnibuses (30 c.J ply to the palace (most from the Rive Droite station). — 
The terminus of the Tramway from "Paris is on the left of the artillery- 
barracks, near the Place d'Arme.?, at the end of the Avenue de St. CJoud. 

Hotels. "Hotel, des RKSEiivoms, Rue des Reservoirs 9 , in an old 
mansion of Mme. de Pompadour, R. from (3, B. l'/a, dej. 4, D. 5 fr. ; Gicand- 
Hotel MoDumre, Rue de Nbailles 18, 100 R. from 3, B. 1, dej. 3, D. 4fr.; 
Hotel Vatel, Rue des Reservoirs 26-28; Hotel Suisse, near the latter, 
Rue Potigny and Rue Neuve, R. from 3'/2, B. 1, dej. 3- D. 3»/2 fr. ; Hotel 
de France, Rue Colbert 5, on the N. side of the Place d'Armes ; Hotel de 
la Cmassk, on the 8. side, Rue de la Chancellerie 6, R. from 3, B. 1, dej. 
or L). 3'/2 fr. — Pension de Famille, Rue des Missionnaires 25. 

Cafes-Restaurants (those a la carte generally expensive). At the Hotels., 
see above. — Near the Palace. In the Rue des Reservoirs: No. 2, Restwarant 
du Muse'e. dej. 3 fr., unpretending; No. 22. Restaurant de Neptune, dej. or D. 
3 fr. — Near the station of the Rive Droite. In the Rue du PJessis: No. 49, 
Cafe" Anglais el Restaurant Continental, dej. 3, D. 5 fr. ; No. 47, CV/<J yffn^ricazYt, 
dej. 3, D. 4 fr.; No. 38, Lion d'Or, dej. 2y 4 , D. 2»/2 fr.; No. 23, Ildtel du Sabot 
d'Or, dej. S'/i, D. 37* fr. Cafi-Rentauranl JJoche. in the Place Heche, dej. 
2-2'/ 2 , D. 3-372 fr. j J/aiM, Rue Colbert 7, dej. or D. 2 l h fr. ; Cafe- Restaurant 
Antialcoolique, Rue des Reservoir.-; 10 (temperance); Brasserie Muller, Avenue 
de St. Cloud 23. — Near the station of the Rive Gauche: Edtel et Cafi- 
Restauranl du Coing-dOr, Avenue de Sceaux 14. — Tea Room, Rue de la 
Paroisse 1, near the Bassin de Neptune. 



350 Route 23. VERSAILLES. History. 

Cabs. Per drive, with one horse iy 4 , two horses iVa fr. 5 after mid- 
night 2 or 2 J /2 fr.; per hr., 2 or 2'/2 fr.; on Sun. and holidays 3 or 3^2 fr. 

Tramways. To Paris, see p. 249. In the town: from the Gare de la 
Rive Droite to the Palace (grey disc) and to the Trianon (pink disc) ; from 
the Square Jean-Houdon or du Plessis, on the N., via the Gare de la Rive 
Droite, to the Avenue de Picardie and the Boulevard de la Ripublique, on 
the E. (yellow disc); from Glatigny, farther to the N., via the stations of 
both banks, to Grandchamp, at the end of the Rue Royale (blue disc); 
from Clagny to the Orangerie (Palace gardens; red disc) ; from Le Chesnay, 
on the N. (Carrefour St. Antoine) to the Gare des Chantiers and the gate 
of Porchefontaine, on the S.E. (green disc). Fare 15 c, 20 c. with corre- 
spondance; 30c. after 9 p.m. — Also: from the Avenue Thiers (Gare de 
la Rive Gauche) to (3 1.) St. Cyr (p. 371 ; 35-25 c); and from the Rue 
de Plessis (Boul. de la Reine) to Maule and Epdne, via, Le Chesnay, Rocquen- 
court, Bailly, Noisy-le-Roi (p. 371), Mareil, etc. Fare 2 fr. 60, 1 fr. 95 c. 

Post, Telegraph, and Telephone Office : Rue St. Julien, near the S. 
wing of the palace (see Plan), Rue de JnuvenceL behind the Prefecture, 
and Rue du Plessis 32, at the corner of the Boul. de la Reine. 

English Church (St. Mark's), Rue du Peintre-Le-Brun, corner of Rue 
de laPompe; services at 11 a.m. and 4 p.m. Chaplain, Rev. J. W. Browne. 
— Synagogue, in the Rue Albert-Joly, near the Rive Droite station. 

Versailles (425-460 ft.), the capital of the Seine-et-Oise depart- 
ment, with 55,000 inhab., was created by Louis XIV. It is a town 
with regular streets and spacious squares, and contains many important 
edifices. The sandy plain on which it is built is destitute of water. 

After the year 1682 Versailles became the permanent headquarters 
of Louis XIV and his court, and is therefore intimately associated 
with both the zenith and the decadence of that monarch's prosperity. 
From this gorgeous retreat the king and ministers directed the policy 
of the nation and frequently also the management of military operations. 
In 1684, after the death of Marie - The'rese , Louis XIV married Mme. de 
Maintenon (1635-1719), who speedily became the dominating power at court. 
Under her influence developed a spirit of hypocrisy, which had its natural 
reaction in the frivolity and excesses of the Regency and of the reign of 
Louis XV, when the palace of Versailles degenerated into a boudoir, ruled 
by Mme. de Pompadour (1721-64) and Mme. Dubarry (1743-93). Louis XVI, 
who came to the throne in 1774, here expiated the sins of his ancestors. In 
1789 the States-General were convened at Versailles, to consider the state 
of the nation and to devise means of averting the impending national 
bankruptcy. The three 'orders 1 of which the Estates were composed failed 
to agree on the method of voting; the Noblesse and the Clergy desired that 
each 'order 1 should vote separately, as heretofore; the Tiers Etat insisted 
that a single poll of the individual members should be held. Backed by 
public opinion the Third Estate formed themselves into a National Assembly. 
This was the beginning of the Revolution. When the council-chamber in 
the palace was closed by order of the king the deputies adjourned to the 
Jeu de Paume (p. 351), where they took an oath (the famous 'serment du 
Jeu de Paume' 1 ) never to dissolve until they had given France a constitution. 
The Assemblee Rationale now assumed the name of Assemble'e Constituante. 
On Oct. 6th, not long after the fall of the Bastille (July 14th) , the palace 
of Versailles was invaded and sacked by a Parisian mob, including many 
thousands of women ('les dames de la halle'), who compelled the king to 
return to the Tuileries. The town of Versailles then lost its importance, 
and its population rapidly 3ank from 50,000 to 25,000. The deserted chateau 
narrowly escaped being sold, but at length under Louis Philippe it was 
reinvested with something of its former splendour and partly converted 
into a picture-gallery. From 19th Sept., 1870, to 6th March, 1871, the palace 
was the headquarters of William I., King of Prussia, and here, on Jan. 
18th, 1871, he was saluted as German Emperor, with the inianimous consent 
of the German states. At a later period it became the seat of the French 



Town. VERSAILLES. 23. Route. 351 

government, and it was from here that Marshal Macmahon directed the 
operations of the ' Versaillais 1 , as the government troops were called, 
against the outbreak of the Commune. The Chambers transferred their 
headquarters to Paris in 1879, and since then Versailles has relapsed into 
its former tranquillity, except on the occasions of the meetings of the 
'Congres' (p. 334) to elect the pre-sidents. — Versailles is the birthplace of 
the Abbe de PEpee (p. 330), Louis XVI, Louis XVIII (d. 1824), Charles X 
(d. 1836), the sculptor Houdon (d. 1828), General Hoche (d. 1797), and 
Berthier, Prince of Neuchatel (d. 1815). — Comp. 'Le Chateau de Versailles, 
histoire et description 1 , by L. Dussieux (2 vols.; 2nd ed., Versailles, 1885). 

The three main streets, the Avenue de Paris, in the middle , the 
Av. de St. Cloud, to the N., and the Av. de Sceaux, to the S., radiate 
from the Place dArmes, in front of the palace. The Avenue de Paris 
is the most important, and contains the Prefecture (1863-67) and the 
Hotel de Ville, in the Louis XV style (1900). — To the S. of the 
Avenue de Sceaux is the Eglise St. Louis, of the 18th cent., con- 
taining the monument of the Due de Berry (d. 1820), by Pradier, 
and some stained glass from Sevres, after Deveria. In front rises the 
bronze statue of the Abbe de VEpee, by Michaut. Near the N. end 
of the Avenue de Sceaux a side-street leads to the Jeu de Paume 
(see p. 350), constructed in 1686. It accommodates a 'Musee de la 
Revolution' (open 12-4 except Mon.). The statue in front of the 
entrance is that of Bailly, who read the famous oath to his colleagues ; 
it was executed by St. Marceaux. At the end of the room is a copy 
of David's 'Serment du Jeu de Paume', and on the walls are inscribed 
the names of the 700 signatories to the minutes of the proceedings. 

The Boulevard de la Reine, on the N., is another wide thorough- 
fare. It is intersected by the Rue du Plessis, which passes the station 
of the Rive Droite, and ends at the Square Houdon on the N., embel- 
lished with a statue of J. Houdon, the sculptor, by Tony Noel (1891). 
— To the S. of the Boul. de la Reine, as we go towards the Place 
d'Armes, are the church of Notre- Dame, built in 1684-86 by J. H. 
Mansart, who is buried here, and a Statue of General Hoche, by 
Lemaire. 

The Place d'Armes is bordered on the E. by the old palace-stables, 
now converted into barracks, and on the W. by the railing of the 
Cour d'Honneur (p. 353). 

Palace and Museum. 
The**Palace or Chateau of Versailles, the celebrated residence of 
Louis XIV, owes its origin to a hunting-chateau built for Louis XIII 
in 1624 by J. Lemercier. This was a square structure of brick and 
stone, and it is still preserved in the marble court of the present 
palace (at the end of the Cour Royale, p. 353). Louis XIV, too, was 
drawn thither by the attractions of the chase, and as early as 1662 
began to give his famous summer entertainments, to which Moliere 
and his company of players lent an added interest. As the chateau 
of St. Germain (p. 376) did not afford him sufficiently ample 
accommodation , the king set about enlarging and embellishing his 



352 Route 23. VERSAILLES. Palace. 

new residence; but it was not until 1668 that he definitely began 
those huge additions that finally enabled him to provide not only 
an imposing seat of government within the walls of his palace, 
but also a permanent residence for the entire court, surrounded 
with everything that art could supply or luxury demand in the 
pursuit of pleasure. Louis Levau (d. 1670), the king's first architect; 
added two E. wings to the 'petit chateau', which he had been 
instructed to respect as much as possible; J. H. Mansart added a 
story to Levau's buildings, built the 'Galerie des Glaces' (1679) 
on a terrace raised to the level of the first story of the garden- 
facade of the original chateau, and in 1680 erected the long S. wing, 
as a residence for the ministers and secretaries of state. The new 
palace was practically completed when Louis XIV transferred his 
residence thither on May 6th, 1682. The chateau, however, was 
still found to be too small, and in 1684-88 Mansart added another 
long wing, on the N. Recent calculations estimate the cost of pre- 
paring the site, laying out the park and gardens, and building and 
decorating the palace at 20 million pounds, and the annual charge for 
its maintenance at 116,000 I. The present cost of maintenance, gardens 
and fountains included, is about 25,000 I. 

The palace, as thus transformed, had room for 10,000 inmates; 
its longer facade, towards the garden, is 635 yds. in length and 
is pierced with 375 windows. The pavilions in the neo-classic 
style, on each side of the Cour Royale, were erected respectively 
by Gabriel, under Louis XV, and byDufour under Louis XVIII, 
and seriously mar the uniformity of the whole as seen from the 
Cour d'Honneur. Gabriel also began the theatre (Opera) in 1753, 
at the end of the N. wing, but it was not completed until 1767-70. 
During the Revolution the royal furniture was sold and the pictures 
were transferred to the Louvre. Louis Philippe, in 1833-37, trans- 
formed the palace into a great national museum of 'all the glories 
of France'. 

The Couk d'Honneue is separated from the Place d'Armes by a 
railing. The groups which adorn the pillars at the entrance aie em- 
blematical of the victories of Louis XIV over Austria (the eagle) and 
Spain (the lion). In the centre stands a bronze Equestrian Statue of 
Louis ZJT, the horse by Cartellier, the figure by Petitot. Around the 
court are placed sixteen colossal Statues of statesmen and marshals of 
France, some of which stood on the Pont de la Concorde until 1837. 

Bearing obliquely to the right and crossing the Rue des Reser- 
voirs we reach the Cour de la Chapelle, between the Pavilion 
Gabriel (see above) and the Chapel. The exterior of the latter, with 
its high-pitched roof and numerous statues of apostles and saints, 
should be noticed. The Entrance to the museum is at the W. end 
of the Cour de la Chapelle. 

The *Musee National of Versailles embraces two sections : 1. The 
State Rooms and Private Apartments of Louis XIV and his successors, 



CHATEAU 



20 40 GO 80 



Metres 



Premier Etage ( Aile du MiL Nord ). 



1148 G-alerie cles Batailles i< 
■ ■■■ ■ ■ ■■■>■■ ■■ ■■■■ ■ ■■■■■■■■ ■ ■■■■ ■■■ 



t 





Rez-de-Cliaussee (Aile duliMord 




Grave et imprime par 



Key to Plan. VERSAILLES. 23. Route. 353 

Key to the Plan of the Palace of Versailles. 

First Floor. 

North Wing. — 83. Salon de la Chapelle (p. 355). — 84-93. 
Historical Paintings : 1794-1830 (p. 355). —94. Staircase to Second 
Floor (p. 355). — 96. Sculptures (p. 356). — 98-104. Contemporary 
Historical Paintings (p. 356). 

Main Edifice. — 105. Salon d'Hercule (p. 357). — 106-111. 
Appartements du Roi (p. 357). — 112. Salon de la Guerre (p. 358). 

— 113. Galerie des Glaces (p. 358). — 114. Salon de la Paix 
(p. 360). — 115-117. Grands Appartements de la Reine (p. 360). 

— 118. Salle des Gardes de la Reine (p. 360). — 119. Escalier de 
Marbre (p. 362). — 120. Salle des Gardes du Roi (p. 360). — 121. 
Premiere Antichambre du Roi (p. 360). — 122. Cabinets de la Reine 
Marie Antoinette (p. 360). — 123. Salle de l'CEil-de-Bceuf (p. 359). 

— 124. Bedchamber of Louis XIV (p. 359). — 125. Salle du 
Conseil (p. 359). — 126-130. Cabinets Interieurs de Louis XV 
et de Louis XVI (p. 359). — 135. Modern Staircase (on the 
site of the staircase used by ambassadors under Louis XIV). — 
136. Vestibule. — 137, 138. Rooms with paintings in gouache 
(p. 357). — 139. Modern paintings (p. 357). — 140. Grande Salle 
des Gardes (p. 360). — 141-143. Apartments of Mme. de Maintenon 
(p. 361). — 144, 145. Anterooms with paintings of 1792-93 (p. 361). 

South Wing. — 147. Escalier des Princes (p. 361). — 148. 
Galerie des Batailles (p. 361). — 149. Salle de 1830 (p. 362). — 
150. Sculpture Gallery (p. 362). 

Ground Floor. 

North Wing. — 1. Vestibule (p. 354). — 2-12. Historical 
Paintings from Clovis to Louis XVI (p. 355). — 13. Staircase. — 
16. Sculptures (p. 355). — 17-21. Salles des Croisades (p. 355). 

Main Edifice. — 22-24. Vestibules (sculptures). — 27-30. Salles 
cfes Tableaux-Plans (p. 365). Less important sculptures and paint- 
ings. — 32. Vestibule of Louis XIII's time. — 33. Most recent 
acquisitions (p. 365). — 34. Views of Royal Chateaux (p. 365). — 
37. Corridor to the Escalier de Marbre (p. 365). — 38. Vestibule 
de Marbre (p. 365). — 42-50. Dauphin's Apartments (portraits 5 
p. 364). — 51. Galerie Basse (p. 365). — 52-59. Busts and Statues 
of French Marshals and celebrated soldiers (closed). 

South Wing. — 66. Vestibule. — 67-80. Paintings of the Re- 
public and First Empire (p. 363). — 81. Galerie de Pierre (p. 364), 



Baedekek. Paris. 16th Edit. 23 



£HJA\¥IA\IJ : 1 







irapmne par 



354 Route 23. VERSAILLES. Palace 

forming a museum of decorative art unique of its kind. 2. The 
Musee Historique , founded by Louis Philippe. This second section 
comprises an immense number of pictures and sculptures , mostly of 
small artistic value but including nevertheless some fine works. The 
collection of historical portraits is most interesting. Under the 
present curator (M. Pierre de Nolhae) the paintings and sculptures 
of real artistic value are being carefully sifted from those of less 
account, which are being relegated to less conspicuous positions. A 
number of paintings are be transferred hither from the Louvre. 

There are so many rooms that only the most important can he exam- 
ined at all carefully within the allotted time; a margin must also be 
left for visiting the Trianons (p. 369). — Visitors who can afford two 
days for Versailles should first inspect the royal apartments and then 
proceed at once to the park and the Trianons, which are in admirable 
keeping with the former. In this case visitors are recommended to begin 
with the Escalier de Marbre (on the left side of the Cour Royale; No. 119 
on the Plan of the First Floor), the entrance to which is at the end 
of the Cour des Princes, to the right, opposite the word 'EntreV on the 
Plan of the Ground Floor, and through No. 39 and the following room, 
turning finally to the right through No. 38. They should turn to the 
left at the top and skirt the balustrade to the Salle des Gardes du Eoi 
(No. 120; p. 360), and thence enter the Appartements de Louis XIV (pp. 359, 
360). The Petits Appartements (p. 359) and the Galerie des Glaces (p. 358) are 
visited next, after which we proceed through the Salon de la Paix (p. 363) 
to the Grands Appartements de la Reine (p. 360) , then return through the 
Galerie des Glaces to the Salon de la Guerre (p. 358), and proceed through 
the adjoining rooms to the Chapel (see below) and the Appartements du 
Dauphin (p. 364). By taking the rooms in this order one obtains the best 
idea of the internal arrangements of the palace. 

North Wing. — Ground Floor. Vestibule (PI. 1). Wet um- 
brellas must be left in the cloak-room (10 c). Nolhae and Peratu's 
illustrated Description of the Palace and Museum (1904; 6 fr.), 
photographs, views, etc., may be purchased here. Time will be saved 
by adhering to the order of the following description. The descrip- 
tions of the less important rooms are printed below in smaller type. 

The *Chapel, to the right as we enter, may be inspected from the 
groundftoor by applying to the chief custodian (fee), but is better seen 
from the first floor (p. 355). It was begun by Mansart in 1699 and 
completed by Robert de Cotte in 1710, and is a masterpiece of the 
pompous style of the period. It is richly, but not unduly adorned 
with sculptures, bronzes, gilding, and paintings. On the vaulting 
of the roof, at the end, is a Resurrection by Charles de Lafosse; in 
the centre, God the Father, by N. Coypel. Over the royal gallery, 
a Descent of the Holy Ghost, by Jouvenet. On the ceilings of the 
side-galleries are the Apostles, by Louis and Bon Boullongne. Holy- 
water stoups by Coustou. The seven altars are adorned with bas- 
reliefs in bronze by Adam, Vinache, Bouchardon, Silvestre, Ladatte, 
and Slodtz. 

In the vestibule of the chapel is a large relief by Coustou of the 
Passage of the Rhine under Louis XIV. We pass thence into the 
historical museum, the rooms of which have replaced the suites of 
small apartments and entresols formerly here. 



and Music. VERSAILLES. 23. Route. 355 

Sallbs des Tableaux d'Histoire dbptjis Olovis jusqu'a 
Louis XVI (PI. 2-12), containing historical paintings by Delaroche, 
Rouget, Johannot, Ary Scheffer, Schnctz, and Vinchon, and a few 
older works by J. B. Martin, Parr o eel , and after Leorun and Van 
der Meulen. — From the staircase (13) we enter (to the right) the 
Galerie de Pierre (16), a long corridor containing casts of royal 
funereal monuments. — To the left is the entrance to the five — 

*Sallbs dbs Oroisadbs (sometimes closed). These rooms, re- 
markable for their sumptuous decoration (arms of crusaders), con- 
tain a number of good paintings of the time of Louis Philippe. — 
1st Saloon (PI. 19). On the right, Gallait, Coronation of Count 
Baldwin of Flanders as Greek Emperor (1204) ; Larivfere, Battle 
of Ascalon (1177). — 2nd Saloon (PI. 20). Jacquand, Taking of 
Jerusalem by Jacques de Molay, Grand Master of the Templars 
(1299). — 3rd Saloon (PI. 21). By the middle window is a mortar 
from the island of Rhodes. On the left, Horace Vernet, Battle of Las 
Navas de Tolosa against the Arabs (Spain; 1212); Schnetz, Proces- 
sion of Crusaders round Jerusalem (1099). On the other side of the 
door, Lariviere, Raising of the siege of Malta (1565). Gothic doorway 
from the hospital of the Knights of St. John at Rhodes, presented by 
Sultan Mahmoud (1836); Odier, Raising of the siege of Rhodes 
(1480); after Delacroix (original, see p. 146), Capture of Constan- 
tinople (1204) ; Blondel, Surrender of Ptolemais to Philip Augustus 
and Richard Cceur-de-Lion (1191). — 4th Saloon (PL 18). Signol, 
St. Bernard preaching the Second Crusade at Vezelay in Burgundy 
(1146); Schnetz, Battle of Ascalon (1099); Signol, St. Louis and 
Godfrey of Bouillon, king of Jerusalem (1100). — 5th Saloon (PI. 
17). Signol, Taking of Jerusalem (1099), Passage of the Bosphorus 
(1097); Gallait, Taking of Antioch (1098). 

We now return to the S. end of the Galerie de Pierre and ascend 
by a small staircase, in the vestibule, to the left of the chapel.| 

North Wing. — First Floor. — We first enter the Salon de 
la Chapelle (PL 83), a vestibule whose white marble walls with 
figures of Piety and Faith contrast strikingly with the gay decora- 
tions of the royal apartments (p. 357). Several doors admit hence 
to the royal gallery which affords an excellent view of the chapel 
(p. 354). — We then pass through the door on the right into the — 

Salles des Tableaux d'Histoire de 1794 a 1830 (PI. 84-93). 
. — 5th Room (PI. 88). Gautherot, Napoleon wounded on the battle- 
field of Ratisbon (1809). — 8th Room (PI. 91 ; 1814-23). Gros, 
Louis XVIII quitting the Tuileries in 1815 on being apprised of 
Napoleon's approach. — - 9th Room (PI. 92; 1824-30), Gerard, 
Coronation of Charles X at Rheims (1825). 

The adjoining staircase (PI. 94) ascends to the Second Floor (open from 
noon), styled the Attique du Noed, where we notice, on the right, four 
rooms arranged in 1900. The paintings here, of Louis XILTs time (17th cent.) 
are interesting from a historical point of view. — 1st Room (PI. 153). On 
the left, 3051. Madonna, St. ! Michael and Joan of Arc; no number, Hunting 

23* 



356 Route 23. VERSAILLES. Palace 

at the court of Jean sans Peur; left, 4046 and 3221 ('?), Anne de Mont- 
morency (p. 390) ; between the windows (central pillar), 3166. Rabelais •, 3152. 
Joachim du Bellay, the poet; 3133. L. Cranach, Luther (1544; inscription 
added later). Exit-side, 3282. Henri IV at the age of four; no number, A. 
Afichieli, Reception of Henri III at the Lido. In the centre, Statue of Henri IV, 
in bronze. — 2nd Room (154). Portraits, including those of Henri IV and 
Marie de Me'dicis; 3280. Charles of Conde and his son; 3418. The Croatian 
general Isolani. — 3rd Room (155). 1860. Bust of Emp. Charles V. ; 3198. Don 
Carlos 5 3196. Philip II. ; 3347. Maurice of Nassau ; 3352. Oldenbarneveldt ; 3340. 
Isabella of Austria, Governor of the Netherlands ; 3337. Margaret of Austria, 
Queen of Spain; 3199 (left), Margaret of Austria, Empress of Germany 
(1528-1603), a fine portrait by /. Pantoja de la Crtiz. —4th Room (156). No 
numbers: Louis XIII; Marie de Medicis (by Pourbus); Anne of Austria; on 
the right, Marie, Duchess of Chevreuse (1600-79); Th. de Savoie, Prince de 
Carignan (1597-1656), by Van Dyck. — The other rooms (157-162) contain por- 
traits or copies of portraits by Mignard, Rigatid, Ph. de Champaigne, and others. 

The Galbrie de Sculpture (PI. 98), parallel to Rooms 84-93, 
contains ancient sculptures from the Eglise des Celestins, etc., "by 
Fr. Anguier and Lehongre, and a number of more recent works by 
Duseigneur, Delay, Nanteuil, Raggi, Foyatier, Jaley, Etex, Valois, 
and Seurre. On the landing, to the right, is a statue of Joan of Arc, 
by Marie d J Orleans, daughter of Louis Philippe (1837). In the 
centre are several works by Pradier, the best of which is the monu- 
ment of the Duke of Orleans (p. 224), with reliefs relating to the 
sieges of Antwerp and Constantine. — We turn to the left and pass 
through the second door into the — 

*Salles des Tableaux d'Histoirb Contempobaine(P1. 98-104), 
with large historical paintings from the reigns of Louis Philippe 
and Napoleon III., many of which include interesting portraits. — 
Room I (PI. 98). To the right, Oerome, Napoleon III. receiving Sia- 
mese ambassadors atFontainebleau(1861) ; to the left, Midler, Open- 
ing of tla.e French Chambers in 1852. — Room II (PI. 99). Right, 
Yvon, Retreat from Russia (1812). Opposite, O. Dire, Battle of 
Inkerman (1854). 

Room III (PI. 104 ; through the corridor on the right). On the 
left, Horace Vernet, *Taking of the Smalah of Abd-el-Kader by the 
Due d'Aumale in 1843, a magnificent picture 70 ft. in length and 
16 ft. in height, containing numerous portraits, to which the sketch 
below it is a key. 

The 'Smalah' of Abd-el-Kader, consisting of his camp, his itinerant 
residence, his court, harem, and treasury, and upwards of 20,000 persons, 
including; the chiefs of the principal tribes with their families, was taken by 
surprise on this occasion by the Due d'Aumale at the head of two cavalry- 
regiments. Booty of enormous value and 5000 prisoners were the prize, 
acquired with so little difficulty. Abd-el-Kader himself was absent at the 
time. 

On the right, H. Vernet, Battle of Isly (1844), in which Marshal 
Bugeaud defeated Abd-el-Kader (1807-83), the leader in the Al- 
gerian struggle against the French. 

Room IV (PI. 103). Horace Vernet, Siege and capture of Con- 
stantine in 1837 (three paintings), Battles in Mexico (1838-40), 
Siege of the citadel of Antwerp (1832). In the passage between 



and Musee. VERSAILLES. 23. Route. 357 

RR. Ill and IY : Carpeaux, Napoleon III. restoring Abd-el-Kader 
to liberty at the Chateau d'Amboise in 1852 (relief). — Room V 
(PL 102). Paintings of the Crimean (1854-56) and Italian (1859) 
campaigns. Pils, Battle of the Alma (1854); Yvon, Capture of the 
Malakoff (1855), Battle of Solferino (1859). Topographical paint- 
ings by Durand Brager . Busts of marshals and generals of the Second 
Empire. — Room VI (PI. 101). Couder, Oath taken in the Jeu de 
Paume (1789). — Room VII (PI. 100). Vinchon, Enrolment of volun- 
teers in 1792; C. L. Mutter, Roll-call of the last victims of the Reign 
of Terror (1794; the seated figure in the middle is Andre Che'nier, 
the poet). 

From the Salon de la Chapelle, to which we have now returned, 
we enter, on the right, the — 

.Main Edifice. — First Floor. The N. side of the central pile, 
looking on to the gardens, formedpart of the*GRANDsAppARTEMENTs 
du Roi (PI. 105-111). These have been altered in various ways and 
no longer contain their original furniture and pictures, but most 
of the ceilings, the gilded stucco ornamentation, the panelling, etc. 
remain practically unaltered and convey an admirable idea of the 
elaborate 'Louis Quatorze' style of decoration. Visitors should note 
the repeated occurrence of the sun-disc, the emblem of the 'Roi 
Soleil'. Since 1906 some of the walls have been hung with "'Tapest- 
ries representing the 'Histoire du Roi', woven after paintings by 
he Brun and Van der Meulen (see p. 358). On the other walls 
are battle-pieces by Van der Meulen, Parrocel, etc., and portraits. 
We first enter the — ■ 

Salon d'Hbrculb (PI. 105), which was incorporated with the 
royal apartments under Louis XV. The Apotheosis of Hercules on 
the ceiling (60 ft. by 55 ft.), by Lemoyne, includes 142 figures. 
Mignard, Louis XIV on horseback. The frame now enclosing 
Louis XIV's Passage of the Rhine, after Le Brun, originally be- 
longed to Veronese's great Banquet at the house of Simon the 
Pharisee, now in the Louvre. 

The following room (Salon be l'Abondance; PI. 106) is the 
first of the 'grands appartements' of Louis XIV. The ceiling-paint- 
ing (Abundance) is by Houasse. 

Rooms Nos. 137 and 138, on the left, contain drawings in gouache from 
the campaigns in the Netherlands (174546). — In Room 139: 0. Bertrand, 
Obsequies of President Carnot; A. Morot, Battle of Reichshofen; A. de 
Neuville, Battle of Champigny (1870), fragment of a panorama. Model of 
the statue of Bailly, erected at the Jea de Paume (p. 351). 

Salon be Venus (PI. 107), with a ceiling-painting by Houasse, 
representing Venus subduing all the other deities. Statue of 
Louis XIV by J. Warm. — Salle de Diane (PL 108; BilliaTd 
Room), with ceiling-painting by Blanchard representing Diana as 
goddess of hunting and navigation. On the vaults, paintings by 
Audran, Be Lafosse, and Sarazin. Busts of Louis XIV by Bernini, 
of Colbert and the Grand Dauphin by Coyzevox, etc. — Salon de 



358 Routed. VERSAILLES. Palace 

Mars (PI. 109; Ball and Music Room), with a fine ceiling by 
Audran (Mars in a chariot drawn by wolves), Houasse (Horrors of 
war), and Jouvenet (Benefits of war). Above the doors are two paint- 
ings from the Histoire du Roi (see p. 357, by 8. Vouet): Coronation 
of Louis XIV, and Meeting of Louis XIV and Philip IV. (in the 
retinue of Louis are Conti and Turenne, in that of Philip is Velaz- 
quez). — Salon be Mercurb (PI. 110; Bedchamber), with ceiling 
by J. B. de Champaigne : Mercury in a chariot drawn by two cocks. 
Tapestries from the 'Histoire du Roi' : Capture of Lisle in Flanders, 
Entry of Louis XIV into Dunkirk, Capture of Marsal in Lorraine. — 
Salon d'Apollon (PI. Ill; Throne Room), with ceiling by Ch. de 
Lafosse: Apollo in a four-horse chariot, escorted by the Seasons. 

We now enter the *Salon de la Guerre (PI. 112), which together 
with the Galerie des Glaces and the Salon de la Paix occupies the W, 
side of the central pile. Ceiling-paintings by Le Brun : in the cupola, 
France, hurling thunderbolts and carrying a shield with a portrait 
of Louis XIV ; in the spandrels, Bellona, Spain, Germany, and Hol- 
land cowering in terror. The walls are lined with coloured marbles 
and embellished with bronze reliefs. On the entrance-wall is an 
equestrian relief in stucco of Louis XIV, by Coyzevox. Six por- 
phyry busts of Roman emperors. 

The *Galerie dbs Glaces (PL 113), 235 ft. long, 35 ft. wide, 
and 42 ft. high, was completed in 1684. It was decorated in the 
most lavish style by Charles Le Brun and other famous artists of the 
day. Opposite the seventeen large arched windows; which command 
a beautiful view of the gardens, are as many bevelled mirrors in the 
Venetian style, set in elegant frames by Cucci. The walls are faced 
with the finest marble and adorned with large trophies in bronze-gilt, 
modelled by Coyzevox. The capitals of the pilasters separating the 
windows and arcades are of the 'French order', an invention of Le 
Brun, The four large niches contained antique statues, but these are 
now replaced by modern works. The cornice, in gilded stucco, most 
of which was carved by Coyzevox, is decorated with the crowns of 
France, the collars of the orders of the Holy Ghost, St. Michael, etc. 
The paintings on the semi-circular vault are due to Le Brun (1679- 
82). Besides the six large subjects in the middle and the two im- 
mediately below on either side, eighteen smaller paintings fill the 
intervening spaces. The series represents the events of Louis XIV's 
reign from 1661 to 1678, and is concerned more especially with that 
monarch's wars against Germany, Holland, and Spain. The large 
central composition depicts the king as ruler, with Mercury proclaim- 
ing his sovereignty to the world. On the side next the garden, 
'Faste (pomp) des puissances voisines de la France' (viz., Germany, 
Holland and Spain). The subjects of the large paintings beginning 
from the Salon de la Guerre, are as follows: Above the door, Alli- 
ance of Holland with Germany and Spain (1672). On the ceiling, 
Passage of the Rhine (1672) and Capture of " 



and Musee. VERSAILLES. 23. Route. 359 

•right, Land and naval armaments; on the left, Louis ordering 
lour fortresses in Holland to he attacked (council of war with the 
Duke of Orleans, Conde, and Turerme). On the other side of the 
central painting: Resolution to make war on Holland (1671); (1.) 
Franche-Comte' conquered for the second time, Capture of Ghent 
and the fruitless efforts of the Spaniards after that event (1678). 
Ahove the door of the next room, Holland abandoning the alliance 
with Germany and Spain and accepting peace (Peace of Nymwegen, 
1678). These compositions, in which allegory is wedded to history, 
recall the large pictures hy Rubens in the Louvre. The whole of the 
appointments in this hall, including tables and other articles of 
furniture, were in solid silver. — King William of Prussia was pro- 
claimed German Emperor here on Jan. 18th, 1871. 

The companion-room to the Salon de la Guerre is the Salon de la 
Paix (p. 360), leading into the Appartements de la Reine (p. 360). 
But we enter first, by the nearest door to the Salon de la Guerre, the — 

Salle du Consbil (PL 125). This was originally two rooms, 
used by Louis XIV as a study and a 'wig-room' ; they were united 
in 1753 and the present decorations were then executed by A. Rous- 
seau. The room contains a time-piece with very ingenious mechan- 
ism, by Morand (1706), and a handsome table. 

The Cabinets Interieoks de Louis XV et de Lodis XVI, or Petits 
Appaktements dd Roi, to the left, are shown by one of the custodians Cfeej. 
The original decorations by Verbrecht still remain , but scarcely any of the 
old furniture, except the clocks. The first room (PI. 126) was the Bedchamber 
of Louis XV, in which he died in 1774. It contains portraits of Louis XV 
and his queen, by Quentin de la Tour; also three Gobelins tapestries from 
the 'Don Quixote" 1 series (1750 and 1752). Ball at Don Antonio's house, 
The puppet-show, and Dorothea disguised as a shepherd. — The Salon, 
or Cabinet des Pendules (PI. 127) contains a meridian-circle of Louis XVTs 
time and a plan of Versailles in mosaic. — On the left, the Cabinet des Chasses 
(PI. 128) overlooks the court where the slaughtered game was piled up. 
It contains another tapestry of the 'Don Quixote" 1 series. Adjoining it is 
the Salle it Manger of Louis XVI, in which are eight Sevres porcelain 
"Plaques, from the 'Chasses de Louis XV 1 series (1779-81), after Oudry. 
Then come three more small rooms one of which was the Library of 
Louis XVI (PI. 129). 

The *Bel>chambbb, of Louis XIV (PI. 124) retains practically 
the original decorations and furniture of 1701, but of the pictures 
only two (the Evangelists, by Valentin; above) are of the period. 
The chimneypieces date from Louis XV. The richly adorned bed of 
Louis XIV, who died in it on Sept. 1st, 1715, after reigning 
72 years, is enclosed by a magnificent railing. The goddesses of fame 
and the figure of Gallia are by N. Coustou, the portrait of the queen 
by Mignard. — We now enter the — 

Sallb db L'OEiL-DE-B(Eur (PI. 123), first so called in the reign 
of Louis XV from its oval window, where the courtiers used to 
await the 'lever' of the king, and celebrated as the scene of numerous 
intrigues. The rich frieze of gilded stucco, with putti, is by Flamen, 
Van Cleve, and others. One of the paintings, by Nocret, represents 
Louis XIV and his family with the attributes of pagan deities. 



360 Route 23. VERSAILLES. Palace 

The Cabinets de Marie Antoinette (PI. 122; apply to an attendant; 
fee) are entered from this room. These remarkahly small apartments are, 
like those of the king, tastefully decorated. They consist of antechamber, 
boudoir, library (painted imitation of old books on the shelves; casket 
for the Dauphin's clothes, presented to the queen in 17S2 by the city of 
Paris), music-room, partly decorated by Gouthitre, and drawing-room, with 
a bust of Mario Antoinette, bv Pajou. Thence we may reach the Escalier 
de Marb re (p. 882). 

Adjoining the Salle de l'Gilil- de-Bceuf are the Antichambrb 
(PI. 121), where t\\e king dined when he did not take his meals in 
private, and the Salle des Gardes du Roi (Pi. 120), containing 
pictures of battles and views of Versailles in 1688. 

The Salon de la Paix (PI. 114), at the end of the Galerie des 
Glaces, also has ceiling-paintings by Le Brun: in the centre is 
Prance, surrounded by Abundance and other allegorical figures; on 
the spandrels, Spain, France, Holland, and Germany rejoicing in 
the peace. On the exit-wall: Lemoyne, Louis XIV with the helm 
of state. — AVe now pass into the — 

Grands Apfartements db la Reinb (PL 115-117), the de- 
corations of which are more interesting than the pictures. The 
Ohambre de la Reine (PI. 115), where Queens Maria Theresa 
(d. 1683), Marie Lesczinska (d. 1768), and Marie Antoinette (1770- 
89) have slept, has a tasteful ceiling by Fr. Boucher (1734). Paint- 
ings: Lebrun, Marriage of Louis XIV and Maria Theresa; After 
Watteau, Birth of the Dauphin; Dicw, Marriage of the Dauphin; 
Mine. Lebrun, Marie Antoinette ; Nattier, Marie Lesczinska. At the 
end is an old Gobelins tapestry: Esther's swoon. — The Salon de 
la Rbine (PI. 116), also called Salon des Nobles, where the queen 
held her great receptions, has a ceiling -painting by Michel Cor- 
neille: Mercury protecting Science and Art. Paintings by Dulin, De 
Seve, aivd Christophe. Tapestries from the 'Histoire du Roi': Renew- 
al of the Swiss alliance; Coronation of Louis XIV at Rheims. 
— The Salon du Grand Couvert, or Antichambre de la Reine 
(PL 1-17), has fine ceiling-decoration, after Le Brun, representing 
Darius at the feet of Alexander. Below: LeBrun, Louis XIV on 
horseback ; Le Brun and Van der Mculen, Defeat of the Spaniards at 
Bruges by Turenne (1567); Gerard (1834), Portrait of Philip of 
France, Duke of Anjou, proclaimed King of Spain as Philip V. 
in 1700. — The Salle des Gardes de la Reinb (PI. 118) was 
the room invaded by the mob on Oct. 6th, 1789, when three guards 
sacrificed themselves to save the queen. It contains busts of Louis XVI 
and Marie Antoinette, etc., and a fine portrait of the Duchess of 
Burgundy, by Santerre, also (on a table) a painting by Girardon 
(Winter). The ceiling-paintings by Noel Coypel represent Jupiter 
accompanied by Justice and Peace, Ptolemy Philadelphus, Alexan- 
der Severus, Trajan, and Solon. — Doors in this and the following 
room lead to the Escalier de Marbre (p. 362). 

Grande Salle des Gardes (PL 140). The ceiling-painting by 
Callet is an allegorical representation of the 18th Brumaire. Pio- 



and Unset. VERSAILLES. 23. Route. 361 

tures: to the left, Roll, Centenary Festival of the States General at 
the Bassin de Neptune (p. 368) in 1889. To the right, David, Na- 
poleon distributing Eagles to the Army in 1804; behind, Gros, 
Battle of Aboukir (1799). In the centre: Last Moments of 
Napoleon I., by V. Vela, in white marble (1866). Busts of Napo- 
leon I. and his family. 

On Maundy Thursday the king used to perform in thia room the 
ceremony of washing the feet of thirteen poor children, in presence of the 
clergy. Here also the National Guard, under Lafayette, took the oath of 
fidelity to Louis XVI on Oct. 6th, 1789. 

The door to the right in this room gives upon rooms leading 
to the S. wing of the Palace (see below). We, however, turn to the 
left, and enter the — 

Avpaktements de Madame de Maintenon (PI. 143-141), rearranged in 
1905. The severe style of the decoration in these rooms admirably reflects 
the character of their famous occupant (p. 350). Gkand Cauinkt (PI. 143). 
Portraits: Rigaud, Ph. de Courcillon (d. 1120), Marquis de Dangeau and 
author of Memoires of the court of Louis XIV, Elisabeth Charlotte of 
Bavaria (1652-1722) , Princess-Palatine and Duchess of Orleans; Mignard, 
Philippe of France, Duke of Anjou, as a child; Ch. Le Brun, Turenne 
(p. 311). Above the chimneypiece is a fine portrait of Mme. de Maintenon, 
by Ferd. Elle. Scenes from the life of Louis XIV, by A. Goypel, L. de Sil- 
vestre, etc. — In the passage to Room 142: Portrait of Franc-oise d'Aubign*:, 
Marquise de Maintenon, as St. Francesca Romana, after Mignard; Ambas- 
sadors from Morocco at 1he Comedie Italienne in 1682, by A. Coy pel. — 
Petit Salon (PI. 142). Portraits: CI. Lefebvre , J. P. Martin (d. 1735), 
known as 'Martin des Batailles 1 from having painted several of the victories 
of Louis XIV for Versailles; Vivien, Fenelon (1651-1715); /. Fr. de Troy, 
J. Hardouin-Mansart, the architect (p. 353); Unknown Artists, Racine, Mo- 
liere; lligaud, Keller brothers, celebrated bronze-founders of the period ; 
Curio Maratta, Andre Le Notre, the landscape gardener (p. 366) ; J. Nocret, 
Duchesse de La Valltere (1644-1710), favourite of Louis XIV. — Grand 
Salon (PI. 141). Among the numerous portraits: CI. Lefebvre (1686), 
J. B. Colbert, the financier; P. Mignard, Ed. Colbert, inspector of the 
royal buildings; Rigaud, M. Desjardins, the sculptor, P. Mignard, the 
painter; Ph. Lallemant (1672), CI. Perrault, inspector-general of the royal 
buildings; St. Andre" (1670), Louis XIV. — We retrace our steps through 
Rooms 142 and 143, and enter the S. wing. 

The next two rooms are anterooms leading to the S. wing of the 
palace. In the first (PI. 144) are battle-scenes from the campaigns 
of 1792-93, by Eugene Lami; in the second (PL 145) are por- 
traits of celebrated soldiers , represented according to the rank 
they held in 1792. In the latter also is a column in Sevres por- 
celain, embellished with paintings and crowned with a statue of 
Victory, which was presented by the city of Paris to Napoleon L, 
on the occasion of his marriage with Marie Louise (1810). 

We cross the landing of the Escalier des Princes (PI. 147), on 
which are placed a beautiful group of the Three Graces, by Pradier, 
and a statue of Napoleon I., by Carteltier. We then enter the — 

South Wing. — First Floor. This, like the N. wing (p. 354), 
was originally occupied by two stories of small apartments. — We 
begin at the — 

*Galerie des Batailles (PL 148). This magnificent hall, 
131 yds. in length, and 14 yds. in width, is divided into two parts 



362 Route 23. VERSAILLES. Palace 

by columns. It contains 34 admirable compositions by modern 
painters , and busts of 80 celebrated warriors who have fallen in 
battle, wbile the names of others are inscribed on tablets. 

Left: G.Bertrand, Patrie (1870-71); Steuben, Battle of Tours 
(732); Ary Scheffer, Submission of the Saxon Duke Wittekind to 
Charlemagne (785); Schnetz, Count Eudes defending Paris against 
the Normans (885-886); H. Vemet, Battle of Bouvines (1214); 
Eug. Delacroix, *Battle of Taillebourg (against the English, 1242); 
Gerard, Entry into Paris of Henri IV (1594). [Next room, see 
below.] — On the other] side, as we return: H. Vemet, Battle of 
Fontenoy, in which the English were defeated by Marshal Saxe 
(1745; painted in 1828) ; Couder, Siege of Yorktown in America, 
conducted by Generals Rochambeau and Washington (1781) ; beyond 
the three windows, Philippoteaux , Battle of Rivoli, Bonaparte defeats 
the Austrians (1797); Bouchot, Battle of Zurich (against the Rus- 
sians, 1799); Gerard, Battle of Austerlitz (1805); H. Vemet, Battles 
of Jena (1806), Friedland (1807), and Wagram (1809). 

The following Salle de 1830 (PI. 149), at the S. end of the gallery, 
is devoted to the accession to the throne of Louis Philippe and other 
subjects. To the right, Roll, Halt! To the left, H. Gervex, President, 
Carnot distributing the prizes after the Exhibition of 1889. Opposite, 
Girard, Proclamation at the Hotel de Ville. Farther on, Court, The King 
distributing colours to the National Guard. — Small rear wall, /. G. Vibert, 
Apotheosis of Thiers (d. 1877). 

Parallel with the Galerie des Batailles is a Sculptube Gajlleky (PI. 150), 
containing statues and busts of eminent persons of the 17th and 18th cent- 
uries by modern artists. It is open only on the Sun. on which the Grandes 
Eaux play (p. 348). 

Having now once more reached the Escalier desPrinces(Pl. 147; 
see p. 361), we may either descend to the exit, or, if we desire to 
inspect the Second Floor, retrace our steps to the Grande Salle des 
Gardes (PL 140; p. 360), pass through the door at the opposite 
corner, and so reach the Escalier de Marbre (PL 119; exit), whence 
we ascend on the right by the Escalier de la Reine to the Attique 
Chimay and the Attique du Midi. — Attique du Nord, see p. 355. 

Attique Chimay (open at noon, sometimes at 11 a.m.). Central portion, 
entered by the second door opposite the Escalier de la Reine. — Room I. 
Musie de la Revolution (pictures illustrating the period and portraits) : 
Hubert Robert, Fete of the Fe'de'ration Rationale (Champ-de-Mars, 1790); 
Gros, Portrait of himself; David, Barrere; Heinsius, Mme. Roland; Kocharski, 
Marie Antoinette at the Temple; Hauer, Charlotte. Corday (the only coloured 
portrait known; see also p. 189). David, Marat wounded (study signed, 
14th July 1793; see p. xlvii), Marat assassinated. Busts of Mirabeau and 
Lafayette, by Eoudon, and of Louis XVII, by Deseine. — Room II. 
Revolution and First Empire: on each side of the entrance, Portraits by 
Danloux, Vinctnt, J. B. Regnault, and others. Then, on the right, Gros, 
"Bonaparte at the bridge of Arcole (1796); Corbet, Bust of Bonaparte; 
Vemet, Battle of Arcole (1796). By the windows, Small pictures represent- 
ing scenes from the life of Bonaparte. On the left, David, ^Bonaparte 
crossing the St. Bernard; sketches by Girard; E. Morin, Mme. Recamier. 
— Room III (through the door at the end). Pictures relating to the 
campaigns of Napoleon I., by General Lejeune. — Room IV. Portraits of 
the Bonaparte family, by Gros, Gerard (at the end, Napoleon I. in his 
coronation robes), Lefebvre, and others; busts by Houdon, Cartellier, 



and Musee. VERSAILLES. 23. Route. 363 

Bartolini, and others. — Then follows a aeries of six cabinets. Cab. 1 <fe 2 
(on the right) : Portraits of the Bonaparte family, by Louis Ducis, Girodet- 
Trioson, and Lefebvre. — Cab. 3 and adjoining cabinets: Portraits of cele- 
brities under the Empire, by G6rard. — Cab. 4: Tardieu, Napoleon and 
the Queen of Prussia at Tilsit. — Cab. 5: Isabey, First consul, and draw- 
ings ; David, Pius VII. ; Canova, Eust of Pius VII. — Cab. 6. Dutertre, 
Portraits of the generals of the Egyplian army (1799). — We return to 
Room II, ascend the steps on the left, and proceed along a corridor to 
the — 

Attiqdb dd Midi : First Empire (continuation) and Restoration. — 
Room I. On the left, Marie Anne Elisa Bonaparte surrounded by Floren- 
tine artists (1813). Side-wall, E. B. Gamier, Imperial procession entering 
the Jardin des Tuileries on the emperor's wedding-day, 2nd April, 1810; 
Gros, Victor Perrin, Duke ofBelluna. On the other walJ, Gros, "Napoleon 
presenting decorations to the artists of the Salon of 1803 (large sketch). — 
Room II. In the centre, R. Lefebvre, Napoleon I. ; P. Gu&rin (after David), 
Marie Louise. Then portraits of dignitaries of the Empire, by Meynier, 
Pajou, Lefebvre, and others. Bust of Napoleon by Bosio. — Room III. 
Portraits of celebrities under the Restoration, by Girard, P. Guirin, and 
others ; scenes from the Restoration period by Ducis, Lecomte, Menjaud, 
and others. — Room IV. Portraits by Lefebvre, Riesener, Debay, Rioult, 
Lawrence, G&rard, etc.; H. Vernet, The Duke of Orleans leaving for the 
Hotel de Ville (1830); Paul Delaroche, The Priuce de Carignan at the taking 
of the Trocadero fort (1823). — The following rooms (closed in 1806) are 
to contain portraits of the Orleans family, by Winterhalter and Ingres, 
and of celebrities of the 19th cent. (2nd Empire, 3rd Republic). 

As we descend from the 2nd floor we turn to the left and regain the 
Escalier des Princes (PI. 147 5 p. 361), at the entrance to the Galerie des 
Batailles. 

South Wing. — Ground Floor. — At the bottom of the Escalier 
des Princes, which descends from the Galerie des Batailles (p. 361), 
or to the left of the passage leading from the Cour des Princes to the 
gardens, is the Galerie de la Republique et du Premier Empire 
(PI. 67-80), which need not detain us long. 

Room 1 (PI. 67; 1796). On the right, Ch. TMvenin, Augereau at the bridge 
of Arcole. — Room 2 (PI. 6S ; 1796-97). Lelhiere, Preliminaries of the Peace 
of Leoben (1797). - Room 3 (PI. 69; 1798). Girodet-Trioson, Insurrection 
at Cairo; Guirin, Bonaparte reprieves the insurgents at Cairo. — Room 4 
(PI. 70; 1802-4). Gros, Bonaparte at the bridge of Lodi (1796). — Room 5 
(PL 71; 1804). Sirangeli, Napoleon at the Louvre after his coronation, 
receiving deputations from the army. — Room 6 (PL 72; 1805). First cam- 
paign of the Grande- Arme'e. — Boom 7 (PI. 73), now used as the ante- 
chamber of the Chambre des Deputes (p. 364). — Room 8 (PL 74; 1805). 
Ch. Meynier, Marshal Ney restoring to the 76th regiment of foot its 
colours found in the arsenal at Innsbruck; Debret } Napoleon salutes a 
waggon containing wounded Austrians in Italy. — Room 9 (PL 75; 1805). 
Girodet-Trioson, Napoleon receiving the keys of Vienna; Gros, Interview 
of Napoleon with the Emperor Francis II. of Austria after the battle of 
Austerlitz. — Room 10 (PL 76; 1806-7). Meynier, The French army entering 
Berlin (27th Oct., 1806); Mauzaisse (after Gros, p. 146), Napoleon on the 
battlefield of Eylau (1807); Berthon, Napoleon receiving the deputies of 
the senate in the palace at Berlin (1806). — Room 11 (PL 77; 1807). 
Gotse, Interview of Napoleon with the Queen of Prussia, at Tilsit. Debret, 
Napoleon presenting a decoration to a soldier of the Russian army. 
— Room 12 (PL 78; 1807-8). C. Vernet, Napoleon at Madrid (1808); Reg- 
nault, Marriage of Prince Jerome Bonaparte with the Princess Frederica 
of Wurtemberg (1807); Gros, Capitulation of Madrid (1808). — Room 13 
(PL 79; 1809-10). Debret, Napoleon addressing his German troops before 
the battle of Abensberg (1809); Bourgeois, Death of Marshal Lannes at 
Esslingen (1809); Rouget, Marriage of Napoleon with the Archduchess 



364 Route 23. VERSAILLES. Palace 

Marie Louise of Austria (1810). — Room 14 (PI. 80). Ch. Thtvenin, The 
French army crossing the St. Bernard (1800) ; F. Seurre, Napoleon I. (bronze); 
Bartolini, Napoleon I. (marble). — At the end are the apartments of the 
President of the Chamber. 

We traverse the Galebie de Pieeke (PI. 81), which chiefly contains 
Statues and Busts of celebrities from the 18th cent, to the present day, in- 
cluding a statue of Thiers, the last work by Guillaume (1903). — To the 
right of this gallery is the former Chambee des Deputes, constructed 
in 1875, and still used for the Congress or National Assembly, i.e. the 
joint meeting of the senate and the chamber of deputies to elect the 
presidents of the Third Kepublic, of which the first was M. Thiers (16th 
Feb., 1S71). It may be visited on application to a custodian (fee ; entrance 
iu the Cour des Princes, see below). 

Main Edifice. — Ground Floor. This is entered from the Cour 
des Princes (opposite PL 66). Passing through an antechamber 
(PL 39) we reach the laTge Vestibule de Marbre (PL 38), which 
gives on the Coiir Royale, and whence the Espalier de Marbre leads 
to the royal apartments on the first floor (p. 360), while the apart- 
ments of the Dauphin (eldest son of the king) open off it on the 
groundfloor. Among other statues in this vestibule is one of Hoche 
as a Roman general, by Milhomme. 

The first suite of rooms (PL 42-50) comprised the *Appartb- 
ments du Dauphin, destined in the first place for the son of 
Louis XIV (d. 1711), afterwards restored for the son of Louis XV 
(d. 1765), and again altered in the 19th century. The original decor- 
ations (Louis XV style) have been partly preserved, however. 
Some of the best portraits of the 18th cent, have recently been 
hung here. Frequent changes. Room I (PL 42). To the left of the 
entrance, N. Largilliere, Portraits of himself and his family, of him- 
self alone, of Thierry the sculptor, and of a general ; Le Bouteux. 
Portrait of Rigaud, the painter; Rigaud, Louis XV (1715), Alex- 
ander of Bourbon (Count of Toulouse; son of Louis XIV and the 
Marquise de Montespan); Lemoyne, Bust of Philip of Orleans, the 
regent. — On the right, A. Coypel, Louis XIV receiving the Persian 
delegates. ■ — Room II (PL 43). Over the fire-place, Nogaret (after 
Gr. Coustou), Bust ofN. Coustou, the sculptor; Belle, Maria Anna 
Victoria, Infanta of Spain, Queen Marie Lesczinska; Galloche, 
Fontenelle; Van Loo, Marie Lesczinska; F. de Troy, Belle, the 
painter; Belle, James Stuart; P. D. Martin, Coronation of Louis XV 
at Rheims (1715); Rigaud, Philip of Orleans; Belle, Mile, de Betkisy 
and her brother. — Room III (PL 44). C. Van Loo, Family of 
Philip V.; Raoux, Mme. Boucher; Parrocel, Arrival of the Turkish 
ambassador Mehemed-Effendi at the Tuileries (1721); After Rigaud, 
Philibert Orry, inspector of the royal buildings, and Cardinal de 
Fleury; De Machy, Paris from the Pont-Neuf (1783); TournVeres, 
Maupertuis; Largilliere, Le Pelletier; Rigaud, Louis XV (1730), 
Mo rat, conseiller d'Etat; Nattier, Portraits of the artist and his family. 
— Room IV (PL 45). Right, Nattier, Louise Henrietta of Bourbon; 
Belle, Marquis of Castelmoron; Tocque, Marquis of Matignon; bust 
(in terracotta, by Caf fieri) and portrait (by Aved) of J, B. Rousseau, 



and Musee. VERSAILLES. 23, Route. 365 

the poet; Tocque, Gresset (1709-77), the poet; L. M. Van Loo, 
0. Van Loo and his family; Nattier, Marie Lesczinska and the Dauphin. 
— Room V (PI. 46). Nattier, Princess de Turenne, Princess Adelaide, 
Maria Josepha of Saxony;. Drouais the Younger, Princess Sophie; 
Tocque, Marquis of Marigny, Tournehem, superintendent of the 
royal buildings; Roslin, Boucher, the painter, Cochin, the draughts- 
man; Lajoue, Portrait of himself and his family. — Room VI 
(PI. 47). The former library, regilded. At the end, Large portrait 
of Maria Josepha of Saxony. — Room VII (Salon des Nattier; 
PL 48). Busts of Voltaire and Diderot, by Houdon, of Fontenelle, 
by Lemoyne, and of D'Alembert, by Francin. Nattier, *Portraits of 
the daughters of Louis XV. — Room VIII (PI. 49). Bedchamber of 
the Dauphin. On the right, under glass, fine Gobelins tapestry,'; 
portraits by Van Loo, Tocque, Drouais (Louis XVIII as a child), 
Roslin, and Belle; Natoire, *Tbe Dauphin, son of Louis XV; por- 
traits of princesses by Nattier; Tocque, Maria Theresa, Infanta of 
Spain and wife of the Dauphin. Fine chimneypiece. — Room IX 
(PI. 50). Olivier, Fetes given by the Prince de Conti; Collet, 
Louis XVI; Le Gay, Cagliostro ; H. Robert, Gardens of Versailles in 
1775 ; Mme. Lebrun, Gretry, the composer, Duchess of Orleans 
(Adelaide de Bourbon). By the window, Roslin, Linneeus, the 
naturalist. 

Galerie Basse (PI. 51 ; formerly the Galerie Louis XIII). Right, 
Natoire, Maria Josepha of Saxony; two Gobelins tapestries (Siege of 
Tournai by Louis XIV in 1667, and Victory of Oassel); statues of 
Turenne, by Pajou, and Conde, by Roland. At the windows, Coy- 
zevox, Duchess of Burgundy as Diana. Left, Bureau of Louis XVI, 
by Roentgen; busts of Louis XV, by Oois, and of Louis XVI, by 
Houdon; Mme. Lebrun, *Marie Antoinette ; Marie Antoinette's jewel- 
cabinet, in fine workmanship by Schwertfeger, Thomire, and Gault; 
Mouchy, Statue of the Duke of Luxembourg; Houdon, Statue of 
Tourville; Mme. Lebrun, The Dauphin and his wife. Left, Mme. 
Lebrun, *Marie Antoinette and her children. 

The gallery and room parallel to the foregoing are the Vestibule 
Louis XIII (PI. 32) and the Salles des Nouvelles Acquisitions, in the 
first of which (PI. 33) may be mentioned : 0. Boulanger, Flautist rehearsing ; 
Flandrin, Prince Napoleon; E. Giraud, Jerome Bonaparte ; J. Lefebvre. The 
Prince Imperial; at the end is a silver statuette of Henri IV by Bosio; 
on the right, Bust of President Carnot, by Chapu; near it, Silver statuette 
of Bonaparte at Brienne, by Rochet; in the corner, Renan, by Bernstamm. — 
In the next room (PI. 34) and adjoining rooms are views of royal resi- 
dences of the 18th century. — At the end of the corridor (PI. 37) is the 
Vestibule de Marbre (PL 38), whence we may regain the entrance. 

Beyond the Vestibule Louis XIII, in the Cour de Marbre (PI. 30): 
E. Detaille, Funeral of Pasteur (1895), Review at Chalons (1896) ; A. de Neu- 
ville, Defence of Le Bourget (1870); Roll, Laying the foundation-fctone of 
the Pont Alexandre III (1896; Felix Faure in the centre). Then (PL 29), 
Chartran, Centenary of Victor Hugo; Taltegrain, Presentation of prizes at 
the exhibition of 19U0 ; Sargent, Pailleron, the poet. Then come two Salles 
des Tableaux - Plans (PI. 28-27; 1627-1814), and, finally, three vestibules 
(PI. 24-22), with statues and busts of soldiers, etc, 



366 Route 23. VERSAILLES. Gardens. 

The Gardens. 

The *Gardens (comp. Map, p. 350), at the back of the Palace of 
Versailles, which are reached by the passages to the W. of the Cour 
de la Chapelle and the Cour des Princes, are partly at least in the 
same condition as when first laid ont in 1667-88 by Le Notre, the 
most famous landscape-gardener of his time. A more artificial style 
can hardly be conceived. The chief object seems to have been 
to subject nature to the laws of symmetry, and to practise geo- 
metry, architecture, and sculpture upon lawns, trees, and ponds. On 
the other hand the grounds are interesting on account of their quaint, 
solemn, old-fashioned appearance, which harmonizes admirably with 
the heavy and formal architecture of the palace, and is in perfect keep- 
ing with the notions of art which prevailed in the time of Louis XIV. 
The number of sculptures, in marble, bronze, and gilded lead, was 
enormous. Nearly 100 sculptors were employed, under the direction 
of Le Brun and Mignard, and though many of their works have been 
destroyed we can still form a very fair idea of the effect produced 
by such an extraordinary wealth of plastic decoration. Towards the 
end of September, when the stately old trees put on their russet 
tints, the scene from the terrace in front of the palace is one of un- 
usual splendour, not untinged with melancholy, and has inspired 
poets like Alfred de Musset and Verlaine. The playing of the foun- 
tains always attracts vast crowds of spectators. 

The *Grandes Eabx du Paec (comp. p. 348) play simultaneously from 
4.30 to 5.15 p.m., with the exception of the Bastin du Dragon and Bag tin 
de Neptune, which play alone from 5.30 to 5,45. Visitors should follow 
the itinerary marked by a red line on the Plan, and should make sure 
of a good place for the Bastin du Dragon and the Bassin de Neptune, the 
jets of which are about 75 ft. in height. 

Among the principal sculptured groups are those in the Parterre 
d'Eau, in front of the palace, and the Parterres du Midi and du Nord 
(p. 368), to the left and right. Beneath the parterres are cellars, 
1 5 ft. in height, with the pipes used to feed the various sheets of water. 

On the terrace in front of the palace are two vases, that to the N. by 
Coyzevox, that to the S. by Tuoy, with reliefs referring to the defeat of 
the Turks by the imperial troops aided by Louis XIV, and to Louis XIV's 
victories in Flanders. Against the palace-wall are bronze statues copied 
from the antique. The two basins in the Parterre d'Eau are surrounded by 
fine groups and by statues of river-gods, in bronze, by Coyzevox, Le Hongre, 
Jtegnaudin, Tuoy, etc. 

Near the steps descending to the lower part of the garden are 
two large basins, the Fontaine de Diane to the right, and the Fon- 
taine du Point-du-Jour to the left, both adorned with groups of ani- 
mals in bronze, by Van Cleve and Houzeau, and other sculptures, 
by Q. Marsy, Desjardins, Magnier, etc. — This point commands a 
survey of the facade of the palace. 

Beyond the Parterre du Midi two flights of marble steps, 103 
in number, descend to the Orangery, built in 1684-86 by Mansart. 
The orange-trees, numbering about 1200, are dispersed throughout 



Gardens. VERSAILLES. 23. Route. 367 

the gardens in summer. One of them is said to date from 1421. 
Farther on is the large Piece d'Eau des Suisses, ca. 750 yds. long 
and 256 yds. wide, whieh was excavated by the Swiss guards of 
Louis XIV. At the end is a poor equestrian statue of Louis XIV, 
by Bernini, transformed by Girardon into a Marcus Curtius. Beyond 
the pond extends the Bois de Satory, 

The former Potager du Roy, or vegetable- garden, founded by the famous 
La Quintinie (1626-88), the gardener of Louis XIV, near the Piece des Suisses 
on the side next the town, was converted in 1873 into a School of Horticulture, 
whose graduates are eagerly sought after both at home and abroad. 

At the foot of the steps which descend opposite the Parterre 
d'Eau is situated the large circular Bassin de Latone, constructed 
by B. Marsy, consisting of several steps of red marble, on which 
there are gilded frogs, lizards, and tortoises spouting water against 
a fine group in white marble of Latona with Apollo and Diana, 
According to the myth, Latona having besought Jupiter to chastise 
the peasants of Lycia for refusing her a draught of water , the 
god metamorphosed them into frogs. Grouped round the basin 
are numerous statues and hermse. On the left, Melancholy, by La 
Perdrix. 

"We proceed straight on by the Tapis- Vert, a long lawn leading 
to the Bassin d J Apollon (127 yds. by 90 yds.), with a group of the 
sun-god in his chariot (popularly known as the 'Char Embourbe''), 
environed with tritons and dolphins. The figures, by Tuby, after 
Le Brun, are in lead. The various groups in the park in which 
Apollo figures (p. 368) were meant as flattering allusions to the 'Roi- 
Soleil' (Louis XIV). — The cruciform Grand Canal, about 1 M. 
in length and 68 yds. in width, extends on the N. to near the Grand 
Trianon (on the right; p. 369). 

To reach the Trianons hence we follow the Allee d'Apollon to the right, 
beyond the railing, as far as the Avenue de Trianon, where the entrance 
(p. 369) is situated. The other avenues are not open all the way. — Near 
the beginning of the Grand Canal, at the end of the Alle'e de la Heine, is 
a small Gafi-Restaurant (dej. 3 fr.). 

As we proceed towards the terrace from the Bassin d'Apollon we 
notice the Bosquet de la Colonnade (PI. 3; restored), containing 
several basins of marble beneath a marble colonnade of 32 columns 
and adorned in the centre with the Rape of Proserpine, in marble, 
by Girardon (1699), after Le Brun. Farther on, the Salle des Mar- 
ronniers (PI. 2), with marble statues of Antinous and Meleager, 
and busts after the antique. Then the Bosquet du Roi, with several 
statues (open May lst-Oct. 31st, after 10 a.m.); the Bassin du Miroir; 
and the Bassin de IHiver, with Saturn and small satyrs, by Girardon. 
Farther up, in the same walk leading to the terrace, the Bassin de 
VAutomne, with a Bacchus and small satyrs, by the brothers Marsy. 
Near it is the Bosquet de la Heine (open like the Bosquet du Roi, 
see above), adorned with statues, where Cardinal de Rohan (p. 186) 
is said to have met the lady who passed herself off as Marie An- 
toinette in connection with the notorious affair of the diamond 



368 Route 23. VERSAILLES. Gardens. 

necklace. Near the Bassin de Latone are the Salle de Bal or des 
Bocailles (PL 1), and, lastly, the Quinconce du Midi, with terminal 
figures after Poussin. A band frequently plays here in summer. 

On the N. side, or to the left of the Tapis-Vert as we re-ascend, 
are the Bassin d'Encelade (PL 4), where the giant (by B. Marsy), 
half- buried beneath Etna, spouts forth a jet of water 75 ft. in 
height ; and the Obelisk (PL 4), a fountain deriving its name from 
the form of the Cent Tuyaux, or hundred jets of water. In the 
walk ascending in the middle is the Bassin de Flore or du Printemps, 
by Tuby. Next the Tapis-Vert lies the Bosquet des Ddmes. Farther 
up is the Quinconce du Nord. The Bassin de VEte, the second basin 
in the walk ascending in the middle, has a Ceres and Cupids, by 
Regnaudin. — The Bosquet des Bains d , Apollon (PL 5 ; open like 
the Bosquet du Roi, see p. 367), to the right, the most interesting of 
all, was remodelled in 1778 after Hubert Robert. A grotto in it con- 
tains a group of Apollo attended by nymphs, by Girardon and Reg- 
naudin. The two groups of the Steeds of Apollo, at the sides, are 
by Gue'rin and the brothers Marsy. 

The Etoile, to the left of the walk and almost opposite this bosquet, 
has four antiques : Mercury, Urania, a Bacchante, and Apollo; a Ganymede 
after the antique; and a Minerva by Bertin. In the Rond - Vert, higher up, 
are four antiques: Faun, Pomona, Ceres, and Hygieia. 

We now return to the Parterre du Nord, beside the Parterre 
d'Eau (p. 366), which also is adorned with copies of antique bronzes 
and allegorical statues (Four quarters of the globe, Seasons, etc.). 
In the centre is the Fontaine de la Pyramide, by Girardon. 

Beyond the Parterre du Nord, to the N. , is another sloping 
parterre, at the beginning of which is the Bath of Diana, a square 
basin, with lead-reliefs by Girardon; adjacent are statues of The 
Choleric, by Houzeau, and The Sanguine (flute -playing faun), by 
Jouvenet. Then the Allee d'Eau or des Marmousets, consisting of 
22 graceful groups of children and young satyrs supporting basins 
whence the water descends into the Bassin du Dragon (the dragon 
by the brothers Marsy, restored in 1890 by Tony Noel), and thence 
to the * Bassin de Neptune, the largest in the grounds (comp. 
pp. 348, 366). It was completed in 1684, but the sculptures which 
adorn it date only from Louis XV's time: in the middle, Neptune 
and Amphitrite, by the elder Adam; on the right, Proteus guarding 
the flocks of Neptune, by Bouchardon; the Ocean, by Lemoyne; at 
either end, a dragon bearing a Cupid, by Girardon, etc. 

Near the Bassin de Neptune, on the same side as the palace, is the 
Bosquet de V Arc-de-Triomphe (PI. 6), with a statue of France between Spain 
and Germany, by Goyzevox' and Tuby. The other statues have been brought 
hither from 'bosquets' which are now dismantled. 

To the E. of the Bassin de Neptune is an exit giving on the Rue 
des Reservoirs (p. 353 ; tramway to the railway-stations, see p. 349) ; ., 
to the W. is an exit to the Avenue de Trianon. 



Trianons. VERSAILLES. 23. Route. 369 

The Trianons. . 

The Avenue de Trianon is the principal approach to the Grand 
Trianon, which adjoins the park of Versailles on the N., ^M. from 
the palace and l l / 2 M. from "the station of the Rive Droite. Tram- 
way (see p. 350) to the Allee St. Antoine, then through the railing 
in front of the station and down the avenue opposite. 

The Grand Trianon, a handsome villa of one story, was erected 
by Louis XIV for Madame de Maintenon in 1687-88, from plans 
by J. Hardouin- Mansart. It occupies the site of the hamlet of 
Trianon, purchased in 1663 by the king, who was fond of coming 
here and entertaining a select circle with dinners, balls, sports, and 
comedies. The attractive interior is adorned with paintings by Mig- 
nard, Le Brun, Boucher, Rigaud, Van Loo, Coypel, etc., and other 
works of art. Entrance at the end of the Allee de la Reine, on the 
left. Admission see p. 348; little time is allowed for a close in- 
spection. 

The Salon des Glaees contains a table with a top made of a single 
piece of oak, over 9 ft. in diameter. The 4th room (Salon de Famille) has 
portraits of Louis XV and Marie Lesczinska, by /. B. Van Loo. The 'grand 
vestibule' in the middle portion is adorned with a marble group by V. Vela 
(1862), representing the Union of France and Italy. In this room Mar- 
shal Bazaine was tried and found guilty of treason , the Due d'Aumale 
presiding, in 1873. In the following room, on the right : Etex, Olympia 
deserted (marble). Two rooms farther on we notice four vases in Sevres 
porcelain imitating Japanese ware; on the chimneypiece, an antique cameo 
in oriental alabaster with a relief (Sacrifice to Pan); paintings by Bon 
Boullongne, N. Coypel, and others. The handsome malachite vases in the 
next room were presented to Napoleon I. by the Czar Alexander I. Then 
comes a room with four pictures by Boucher: Neptune and Amymone, 
Venus and Vulcan, Fortune-teller, and Fishing. — The apartments in the 
wing on the left, called the Trianon- sous- Bois, are not shown. — Finally, 
we pass through Napoleon I/s apartments, where we see (in the drawing- 
room) a table of Roman mosaic given him by Pope Pius VII. 

The Garden of the Grand Trianon is open to the public like the 
rest of the grounds. We enter it by a door to the right of the facade, 
or from the garden of the Petit Trianon, behind the Salon de Musique 
(p. 370), to the left. The little cascade here , called the Buffet de 
V Architecture , in three tiers of red marble, with basins of white 
marble and statuettes and ornaments in gilded lead, was designed 
by J. Hardouin-Mansart. The Plafond de Mansart, or Le Miroir, to 
the left, with two dragons and four gro'ups of children, is by Hardy. 

The Grandes Eadx de Trianon (comp. p. 348), consisting of the above- 
mentioned fountains, the Fer-a-Cheval, and some smaller fountains, play 
simultaneously from 4 to 5 o'clock. 

To the right of the Grand Trianon is a Musee des Voitdbes (open 
at the same times as the Trianon). It contains eight state-carriages, viz. 
those used by Napoleon I. at his coronation, as first consul, and at his second 
marriage-, "Coronation-carriage of Charles X, restored by Napoleon III. for 
the baptism of the Prince Imperial; carriage used at the baptism of the 
Comte de Chambord and the marriage of Napoleon III. ; carriage used at 
l ue baptism of the King of Rome; ambassadors' state-carriage; carriage 
sed by the Czar and Czarina in Paris in 1898. Round the room are 
,'ala-harness and historic sledges, e.g. those of Marie Antoinette, with 
•anels by Watleau; Mme. de Pompadour, a dainty fancy shaped like a shell ; 

Baedeker. Paris. 16th Edit. 04 



370 Route 23. VERSAILLES. Trianons. 

Mme. de Maintenon, in keeping with her more austere tastes, and supported 
by a tortoise; and Marie Lesczinska. Here also are the sedan-chairs of 
Louis XIV, Louis XVI, Marie Antoinette, etc. — It is proposed to make 
this museum more complete. 

The Petit Trianon, a little to the N.E. of the other, erected for 
Mme. Dubarry by Louis XV in 1766 from the plans of Gabriel, was 
a favourite resort at a later date of Marie Antoinette and the Duchess 
Helen of Orleans. The Empress Marie Louise also stayed there 
sometimes. It is decorated in the Louis XV style with the exception 
of a few rooms which were altered for Marie Antoinette. Admission 
see p. 348. 

Antechamber. Paintings by Natoire. — Dining-room, where Louis XV 
used to give his 'petits soupers\ Traces of the trap-door through which 
the tables appeared, ready-laid, may still be seen. Paintings by Pater; 
portraits of Louis XVI, by Collet, and Marie Antoinette, by Roslin. Ballets 
danced at Schosnbrunn by Marie Antoinette when she was still an arch- 
duchess. — A tasteful staircase with a handsome lantern ascends to the 
first floor. Queen's study. The paintings over the door and above the 
mirror are by Natoire and Mpicie". — Drawing-room. Harpsichord of 
1790 •, paintings by Pater. — Boudoir. Bust of the queen in Sevres china, 
broken at the Revolution and afterwards restored. — Bedchamber. Portrait 
of Louis XVH(?), by Mme. Lebrun (?; more probably a copy after Kocharsky). 

The 'Jardin Francais', to the left, through which the Petit Trianon 
was entered, contains the 'Pavilion Francais', built under Louis XV, in 
which there is a large summer dining-room. 

A visit should he paid to the *Gabden of the Petit Trianon 
(open all day), with its 'hamlet' (usual entrance by the door on the 
right of the court). It was laid out in the English style for Marie 
Antoinette and contains some fine exotic trees, planted by B. de 
Jussieu. A turning to the right, by the rivulet, leads to a 'Temple 
of Love', with a Cupid after Bouchardon (original in the Louvre, 
p. 114), and other remains of the original garden. 

The Hamlet (restored in 1899), as the nine or ten rustic cottages 
grouped round an artificial lake are called, was built by Mique and 
H. Robert in 1782-86 for the court-ladies who wished to indulge in 
the idyllic life which became the fashion in consequence of J. J. 
Rousseau's book, 'Le Devin du Village', or Village Soothsayer. There 
are a 'maison du Seigneur', another for the 'bailli' or bailiff, a 'par- 
sonage', a 'mill', a 'boudoir', a 'dairy-house', a 'tour de Marlborough', 
the Duke's name being frequently in French mouths at that time, a 
'keeper's house', and, farther on, a 'farmhouse'. — The walk on the 
other side of the lake leads back to the vicinity of the chateau, 
where there is a 'salon de musique', with an ornamental pond, 
rockeries, etc. 

About II/4 M. far from Versailles station, at La Boulie, is the 
Qolf Course of the Societe de Golf de Paris (see p. 46). 



From Versailles to St. Germain-en-Laye. — 1. By the Chemin de 
Fer de Grande-Ceinture, 141/2 M., in 3/4-I hr. (fares 2 fr. 5, 1 fr. 60, 1 fr. 
25 c). — The train starts from the Gare des Chantiers (p. 349), threads 
a short tunnel and then one nearly Y2 M. long, and passes near the Piece 
d'Eau des Suisses (p. 367). Fine view of the palace on the orangery side. 



Env. of Paris. NANTERRE. 2d. Route. 371 

3V2 M. St. Cyr (4253 inhab.), with a celebrated military school founded 
in 1806, attended by 750-800 pupils from 16 to 20 years of age and fur- 
nishing about 400 officers to the army every year. The school occupies the 
'Maison d'Education 1 for girls established here by Mme. de Maintenon, for 
which Eacine composed his 'Esther' and 'Athalie'. St. Cyr is also reached 
by tramway (p. 350) from Versailles. — 5V 2 M. Bailly. — Beyond (7 M.) 
Noisy-le-Roi the train enters the Forest of Marly (p. 373). Short tunnel, 
beyond which we enjoy a fine view, to the right, of the forest. — At (8V2 M.) 
St-Nom-La-Breteche-Foret-de-Marly we join the line from Paris to St. Ger- 
main via Marly (p. 372). 

2. By the Chemin de Fer de VOueit, as far as Becon (p. 340), in ca. 
I 1 /* hr. (through-fares 1 fr. 60, 1 fr. 35 c). 

From Versailles to Rambouillet , Chartres, and Dreux , see Baedekers 
Northern France. 

24. From Paris to St. Germain-en-Laye. 

The two principal attractions of St. Germain are the view from the 
terrace and the Museum of Antiquities, open on Tues., Thurs., and Sun. 
(p. 376). 

The Steamboat Journey from Paris is pleasant but much longer 
(4 hrs.) than the railway route (see below). The steamer, named the 
' Touriste" 1 , starts in summer (1st May-30th Sept.) from the Pont- Royal 
(p. 298; left bank) at 10.30 a.m., and leaves Le Pecq at 5 p.m. (in Sept. 
4 p.m.) $ outward fare 3, return-fare 4'/2 fr. Dej. on board 4 or 6, D. 5 or 7 fr. 

A. By the Direct Railway. 

13 M. Chemin de Fer de VOuest. Trains start from the Gare St. Lazare 
(p. 213 ; booking-office upstairs in the central portion) about 30 times daily. 
The journey occupies 30-50 minutes. Fares 1 fr. 50, 1 fr. 5 c.; no reduction 
on return-tickets, which, however, are available for the line via Marly-le- 
Roi (p. 372). 

From Paris to (3 3 /4 M.) Asnieres, see p. 339. From this point to 
(5^2 M.) La Garenne - Bezons there are two distinct lines , with 
different stations, which the trains follow alternately. To the left 
diverges the line to Versailles, to the right that to Argenteuil (p. 390). 
The St. Germain railway passes numerous villages and country- 
houses. — 5V2 M. La Garenne- Bezons. The village of Bezons, 
1^4 M. distant, on the right bank of the Seine, contains a 15th cent, 
church and a chateau of Louis XIV's time. The road to Bezons 
passes Petit - Nanterre , with its large Reformatory. — The line to 
Rouen, Havre, and Dieppe (see p. 443) diverges to the right. Fine 
view on the left, where Mont Valerien (p. 348) is conspicuous. 

71/2 M. Nanterre is an old country-town (14,140 inhab.), where, 
according to tradition, St. Genevieve, the patron-saint of Paris, 
was born in 422 (p. 283). About 73 M. from the station, in the 
Rue du Chemin-de-Fer, to the left, is the church, dating from the 
13-14th cent., hut extensively restored and altered in the 17th cent- 
ury. Near it, in the courtyard of a school, is the miraculous well 
of St. Genevieve. Annual pilgrimage on Sept. 16th. A 'Rosiere' 
festival is held here on Whit-Monday. In the Place de la Fete, near 
the church, to the S., is a fountain in memory of J. B. Lemaitre, a 
benefactor of the town. — Steam-tramway, see p. 373. 

24* 



372 Route 24. CHATOU. Environs 

8V2 M. Eueil (p. 373). The station is about % M. from the 
centre of the town (steam-tramway, p. 373). — The train crosses 
the Seine, which is divided here by an island into two arms. 

9^2 M. Chatou {Hot. -Restaur ant du Soleil-d J Or; Cafe-Restaurant 
de l'H6tel-de-Ville; others near the station) is a village of 4514 in- 
habitants. The pretty country from Chatou to Le Pecq is a favourite 
summer-retreat of the Parisians and abounds in villas. The church 
(restored) was founded in the 13th century. The Square de la Mairie 
is adorned with a bust of the Republic, by Firmin Bate (1902). On 
the river -bank is an 18th cent, chateau designed by Souffiot. — 
On the other side of the railway is the modern village of (1 M.) 
Croissy, 2 M. from Bougival (see below). An omnibus plies in summer 
15 times daily to Croissy (30 c), Bougival (30 c), and Louveciennes 
(see below). 

IOY2M. Le Vesinet (Cafes-Restaurants de la Gare and du Chalet, 
Rue de l'Eglise, near the station), a modern village (pop. 5414) built 
for the most part in an old park. It possesses a convalescent home 
for women and a race-course. 

12 M. Le Pecq (pop. 1791), partly on the slope of the hill below 
St. Germain, with two chateaux (Grandchamps and Rocheville) and 
a chalybeate spring. In the cemetery is the monument of the com- 
poser Felicien David (1810-76), by Millet and Chapu. Omnibus to 
Montesson, 30 c. Lift to the terrace of St. Germain (p. 379 ; up 15 c, 
down 10 c, with bicycle 15 & 20 c). Steamboat, see p. 371. 

The train now recrosses the Seine, here again divided into two 
arms by an island, and ascends a steep gradient passing over a 
viaduct and through two tunnels to (13 M.) St. Qermain-en-'Laye 
(p. 375). 

B. Railway via Marly-lb-Roi. 

24M. Chemin de Fer de VOuest, from the Gare St. Lazare, as above 
in I1/8-IV2 hr. (fares 1 fr. 80, 1 fr. 20 c). Return-tickets, see p. 371. 

From Paris to (9^2 M.) St. Cloud the train follows the line to 
Versailles (right bank, p. 348), which then diverges to the left. — 
Beyond (IO72 M.) Oarches (associated with the sortie from Mon- 
tretout, p. 341) the train passes the chateau of Villeneuve-l Etang 
(now a branch of the Institut Pasteur, p. 335), the racecourse and 
park of La Marche (steeplechases), and the Hospice Brezin. Tunnel. 
— 1272 M. Vaucresson (pop. 1016). Another tunnel. To the left, 
the stud-farm of M. Edm. Blanc and the Chateau of Beauregard. 
We then obtain a good view, to the right, of the valley of the Seine 
and St. Germain-en-Laye. 

1472 M. Bougival-la-Celle-St- Cloud (pop. 3547), prettily situated 
near the beautiful forest of La Oelle-St-Cloud. Bougival lies about 
3 /4 M. below the station (see p. 375). To the left is the Aqueduct 
of Marly (p. 373). Tramway from Marly to Rueil (station opposite 
the bridge). — 15 M. Louveciennes, a village with numerous large 



of Paris. MARLY-LE-ROI. 2d. Route. 373 

villas and a church of the 13th cent., partly rebuilt, with a painting 
(St, Genevieve) "by Mme. Lebrun. Conspicuous on the top of a hill 
to the W. is the Aqueduct of Marly, constructed under Louis XIV 
to bring to Versailles the water raised by the hydraulic machine at 
Marly (p. 375), hut never completed. — The train now passes 
through a tunnel and some cuttings, and crosses the road and tram- 
way-line from Rueil to Marly-le-Roi (p. 375) by a viaduct 930 ft. 
long and 145 ft. high. Good view of St. Germain. 

16 M. Marly-le-Eoi (560 ft.; pop. 1568; Hot. des Trois-Cou- 
ronnes), once noted for its chateau, built by Louis XIV in 1679- 
90 and destroyed in 1793. The remains include the Abreuvoir, a 
large basin near the tramway-station, parts of the extensive garden- 
walls, and the small Park, the nearest entrance to which is at the 
end of the avenue ascending to the right from the Abreuvoir. The 
Villa Montmorency, at the top of the village, with its array of ten 
sphinxes in red granite, belongs to M. Victorien Sardou, the dramatic 
author. — The Forest of Marly contains the shooting-preserves of 
the president of the republic (visitors are requested to shut the 
gates after them), besides a stud and a racecourse. 

17^2 M. IS Etang-la-Ville (Restaurant Yvon; Hot. -Restaurant 
Au Pavillon-Bleu), a small village situated in a valley, has an in- 
teresting church of the 11th, 12th, and 15th centuries. We reach the 
Forest of Marly (see above) from this point in 1/4 hr. by turning to 
the left and passing under the railway; but the next station, 
(I8V2 M St-Nom-La-Breteche-Foret-de-Marly, is within the forest 
itself. Here the line joins the Grande Ceinture line (p. 370). Fine 
view of St. Germain to the right. — 20^2 M. Mareil-Marly. Beyond 
the next station, Fourqueux, to the W., is the Forest of St. Germain. 
From (22^2 M.) St-Germain- Grande- Ceinture, 1 M. from the cha- 
teau, the line makes a wide curve to (24 M.) St-Gerrnain-Ouest 
(p. 375), the terminus, beside the chateau. 

O. By Steam Tramway. 

11 Va M., in ii/ 4 hr. (fares 1 fr. 65, 1 fr. 15, return 2 fr. 70, 1 fr. 85 c). The 
cars start from the Place de TEtoile; ticket-office to the left as we leave 
the MUropolitain station, behind the Arc de Triomphe. 

The steam-tramway quits Paris by the Avenue de la Grande 
Armee and the Porte Maillot (p. 235), traverses Neuilly (p. 223) 
by the Avenue de Neuilly , crosses the Seine, and at the top of the 
Avenue de la De"fense-de-Paris turns to the left. — 2*/4 M. Pont de 
Neuilly (Courbevoie, see p. 340). — 2 3 /4 M. Bond-Point de la De- 
fense, near the Monument de la Defense de Paris (p. 340). — 3^2 M. 
Bond-Point des Bergeres, a stopping-place not far from the railway- 
station of Puteaux (p. 340). We cross the plain to the N. of Mont 
Vale'rien (p. 348). 

43/ 4 M. Nanterre (p. 371), to the S.E. of the village. 

5 3 / 4 M. Rueil {Hotel du Lion-d'Or), a small town with 11,013 



374 Route 2d. LA MALMAISON. Environs 

inhab., enjoyed considerable importance under Louis XIII owing 
to the splendid chateau (now demolished) that Richelieu possessed 
there, and was famous at the beginning of the 19th cent, for its 
proximity to the chateau of La Malmaison. The church may be 
reached either by the Rue de Maurepas, which continues the Avenue 
du Chemin-de-Fer beyond the road, to the S., or by turning to the 
left as we leave the tramway-station (Rueil-Ville), and then to the 
right by the Rue de l'Hotel-de-Ville. The Church, in the Renaissance 
style (restored in 1857), contains the monuments of the Empress 
Josephine (see below) and her daughter Queen Hortense (d. 1837), 
mother of Napoleon III., with statues by Cartellier and Bartolini. 
The handsome organ-loft is by Baccio d'Agnolo of Florence (15th 
cent.). The relief, in bronze- gilt, over the high-altar came from the 
chapel of La Malmaison. 

Railway Station, 1/2 M. to the N.W., see p. 372. A branch Steam-Tram- 
tcay runs thence to connect with that from Paris. 

6'/ 2 M. La Malmaison, noted for its chateau, is about V3 M. to 
the S.W. of the tramway-station (by the A v. du Chateau and then 
to the right). The Chateau, which was built in the middle of the 
18th cent, and remodelled by Percier and Fontaine, is celebrated 
as the residence of the Empress Josephine, who withdrew there 
after her divorce in 1809 and died there in 1814. Maria Christina, 
Queen of Spain, occupied the chateau until 1867, and it was a 
favourite resort of the Empress Eugenie. The chateau and what is 
left of the park, which had been partly cut up into lots, were pur- 
chased and presented to the nation in 1900 by M. Osiris (p. 216). 
Visitors are admitted daily, except Mon., 10-5 (10-4 in winter), 
and are conducted by an attendant (fee). 'Vestiaire 1 (10 c.) to the 
right of the railing. Keeper: M. Pallu de la Barriere. 

Ground Floor. To the left of the Vestibule oVEonneur are the Dining- 
Room (restored to its original condition), the Council Chamber, and Bona- 
parte's Library, with old book-cases with glass doors and a small maho- 
gany cabinet with a secret lock, in which the First Consul kept valuable 
documents. To the right of the vestibule is the Billiard Boom, with por- 
traits of pashas brought from Egypt by Bonaparte (1799). In the Em- 
presses Reception Boom (restored to its original condition) are Josephine's 
tapestry-loom, work-table, etc. ; in the Music Boom, her harp, etc. — First 
Floor. Passing through the Bathroom, Josephine's Dressing -Room, and 
Sapoleorts Bedroom, we reach the "Mortuary Chamber of (he Empress, faith- 
fully restored to its original condition, with her bed, hangings, and fur- 
niture. The Waiting-Room, which we next enter, contains some furni- 
ture belonging to Queen Hortense, from the chateau of Arenenberg in 
Switzerland, [presented in 1908 by the ex-Empress Eugenie. On the right 
is a marble bust of JosephiDe, by Chinard. 

To the left in the pretty Park is the Allie de V Exil, bordered with 
laurels, where Napoleon bade farewell to his family before starting for 
St. Helena (1S15). To the left of this walk is the Chapel, erected by Maria 
Christina (see above), with the arms of Spain in the windows. On the 
lawn, to the right, is the fine Cedar of Marengo, planted by Josephine to 
commemorate the victory of Marengo (1800). We proceed to the left in 
front of the rear-facade of the chateau ; here stand two Obelisks brought 
from Egypt by Bonaparte. The handsome walk on the left, flanked with 
lime-trees, leads to the Fi7'st Consul's Study, a small summer-house (closed). 





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of Paris. BOUGIYAL. 24. Route. 375 

7 M. La Jonchere. A road ascends hence to the right to La- 
Celle- St- Cloud (IJ/2 M.; p. 372), skirting the chateau of Ea 
Jonchere, which belonged to Louis Bonaparte. The tramway next 
passes a fine grove of chestnuts, and a wood (to the left) with the 
Etang de St. Cucufa, l 1 /^ M. from the station. 

8 M. Bougival, a village (pop. 2584) on the left hank of the 
Seine, much frequented by rowing parties. Part of the Church, 
which possesses a handsome Romanesque hell-tower, dates from the 
13th century. On the opposite hank of the Seine are Croissy and 
Chatou (p. 372). — Railway-station, see p. 372. 

8^2 M. La Machine, a suburb of Marly, is named from the hy- 
draulic machine by which Versailles and St. Cloud were supplied 
with water. The old machinery, constructed by a Dutchman named 
Ranneken at a time (1685) when mechanical science was in its in- 
fancy, is said to have cost 4 million francs. This apparatus was re- 
placed in 1855-59 by a stone dyke, 6 iron wheels, and 12 forcing- 
pumps, by means of which the water is driven up in a single volume 
(ca. 25,000 cubic metres per day) to the reservoir, situated 3 / 4 M. 
from the river and 505 ft. above it. Visitors are admitted (fee). On 
the other side of the river is the model Jersey Farm, belonging to 
M. Hugo (ferry). 

At (9^2 M.) Port-Marly the tramway-line quits the banks of 
the Seine. 

A branch of the steam-tramway to (H/4 M.) Marly-le-Roi (p. 373) ascends 
to the S., passing under the Viaduct of Marly (p. 373). 

The main line follows the highroad to St. Germain , on the S. 
side of which it ascends, traverses the Place Royale and the Avenue 
Gambetta, turns to the left into the Rue Thiers , and halts in the 
Place du Chateau. — HV2 M. St. Germain-en-Laye. 

ST. GERMAIN-EN-LAYE. 

Stations. Gave de VOuest (PI. D, E, 3; lift from the arrival-platform 
to the level of the exit, 10 c.) ; Gave de Grande-Ceinture (PI. A, 2 ; see p. 373). 

Hotels-Restaurants. *Pavillon Henri IV (PI. E, 3), at the beginning 
of the terrace (p. 379 ; view), of the first class, R. 1015, B. H/2, dej. 5, 
D. 6 fr., or a la carte, with a 'salon historique 1 , a ceiling painted by Tour- 
nier (1863; Apotheosis of Louis XIV), etc.; Pavillon Louis XIV et Conti- 
nental (PJ. a; D, 2), Rue d'Alsace, at the beginning of the forest, of the 
first class (closed, in winter), dej. 4, D. 6 fr., or a la carte; Prince de 
Galles (PI. c; D, 3), to the right of the church; Ange-Gardien, De 
France (PI. d and e; E, 4) Rue de Paris 74 and 63, near the barracks, 
dej. 21/2, D. 3 fr. « 

Restaurants at the hotels. Also Aigle-d^Or, Rue du Vieil-Abreuvoir, 
dej. 2V2 fr. incl. wine, good; Targe, Rue au Pain 83, at the corner of 
the Rue de la Republique, dej. or D. 2*/2 fr. (also pastry-cook). — Cafes. 
Cafe" du D4barcadere, Place du Chateau; Francois Premier, Rue de la Sur- 
intendance. 

Cabs (in the Place du Chateau). Within the barriers, per drive l x /4 fr., 
on Sun. and holidays IV2 fr. ; per hour 2 and 2*/2 fr. Beyond the barriers, 
within a radius of 15kil. (9V2 M.), 2^2 and 3 fr. per hour; 'indemnity 1 
for return if the carriage be dismissed outside the barriers. 

Steam Tramway. To Paris, see p. 373. To (3y 2 M.) Poissy (p. 443; 
comp. the Plan), in 24 minutes. 



376 Route 24. ST. GERMAIN-EN-LA YE. Chateau 

Post & Telegraph Office (PI. P and T), Rue Francois-Bonvin (PI. C, 
D,3); branch-office opposite the theatre in the Place du Chateau (PI. D, 3). 
Protestant Church (PI. D, 2), Avenue des Loges. 

St. Germain (280 ft.), a quiet town with 17,297 inhab., is noted 
for its beautiful situation and healthy air, which as far back as the 
12th cent, caused it to be a favourite summer residence of the kings 
of France. It is much frequented in summer by Parisians, and there 
are a number of English residents. 

The Chateau (PI. E, 31 owes its origin to a fortress built on this 
site by Louis le Gros (1108-37) to command the Seine. The pretty 
Gothic chapel, which is still in existence, was completed in 1238 
by Pierre de Montereau (see p. 263), in the reign of St. Louis. 
During the wars with England the castle was destroyed. It was 
restored by Charles V, but the present building, whose gloomy 
strength contrasts strikingly with the cheerful appearance of other 
contemporaneous edifices, dates from the time of Francis I., who 
here celebrated his nuptials with Claude, daughter of Louis XII. 
It was designed by Pierre Chamhiges (pp. 92, 175) and Guillaume 
Guillain. Henri II began another chateau, completed by Henri IV ; 
but this was destroyed in 1776, with the exception of the Pavilion 
Henri IV (PI. E, F, 3 ; see p. 375). Louis XIV was born here in 
1638, and he retired hither after the death of his mother Anne of 
Austria (p. 88) in order to escape from the uncongenial atmosphere 
of Paris. Finding the space inadequate, however, he constructed the 
sumptuous palace of Versailles (p. 351). The chateau was afterwards 
occupied for 12 years by the exiled king James II. of England, who 
died here in 1701 (comp. p. 330). Napoleon I. converted it into a 
school for cavalry-officers, and it was afterwards used as a military 
prison. The restoration of the chateau on the original plans, which 
was begun in 1862 by E. Millet, is now in the hands of MM. Lafollye 
and Daumet. The exterior was completed in 1906. The monumental 
gate is adorned with two figures of Fame, by D. Puech, after a bronze 
of the time of Henri III. 

The *Mtjsbe dbs Antiquites Nationales, which the chateau 
now contains, embraces an interesting collection of objects ranging 
in date from the dawn of civilization in France to the period of the 
Carlovingians. The museum is open to the public on Sun. from 
10.30 a.m., on Tues. and Thurs. from 11.30 a.m., to 4 or 5 p.m., 
and to strangers on other days(Mon. excepted) by special permission. 
The exhibits are provided with explanatory notices, and there are 
also a good catalogue (1 ^ fr-) a nd an illustrated guide (1 fr.) by the 
curator M. Sal. Reinach (1898), besides two illustrated catalogues 
(5 fr. each) of the quaternary epoch and the Roman bronzes, and one 
of the Musee Chretien (early-Christian objects; 2 fr.). — 'Vestiaire' 
optional. 

Ground Floor. — The principal entrance is through the court, on the 
left, but in winter and in rainy weather admission is by a small door in 
the vestibule to the left, which opens on Room S (p. 377). 



and Musee. ST. GERMAIN-EN-LAYE. 2d. Route. 377 

The Chapel, to the right of the court, contains the Musie Chrtiien: 
Early-Christian and Gallo -Roman sculptures and inscriptions (4-9th cent.) ; 
casts (a few originals) of Christian sarcophagi from the S. of Gaul, pagan 
types (heads of Medusa, etc.) assimilated to Biblical subjects: 46,206. Baptism, 
27,108. Jonah and heads of Medusa, 46,198. Christ and the apostles, and 
the three sarcophagi of SS. Francove'e, Quiterie, and Seurin (so-called); 
*20,580. Christian altar of the 5th cent, (at the end, left), adorned with 
doves, lambs, and the cross flanked by the letters a and w. On the walls 
are Christian funeral inscriptions and a few Jewish inscriptions with the 
seven-branched candlestick. 

Rooms S and R, to the left of the principal entrance : Casts of bas- 
reliefs and of the medallions from the Arch of Constantine at Home (origi- 
nally on a monument to Trajan); models of Roman engines of war capable 
of throwing projectiles to distances of 340 and 175 yds.; pirogues, etc. — 
Rooms A, B, and 0, to the right of the entrance : Casts of bas-reliefs from the 
Arc d'Orange and the Julian tomb at St. Remy, near Aries. Room B also 
contains a medallion of a mosaic found at Autun in 1830, representing 
Bellerophon and the Chimsera (restored at Sevres). — Rooms D, E, and F 
are not yet open (F will be devoted to ancient pottery and D to mill- 
stones, etc.). — We now return to the entrance, and ascend the handsome 
brick and stone staircase to the entresol. 

Entresol. Room XIX (the last on the right). Gallic mile-stones and geo- 
graphical inscriptions. — RoomXX. Celtic and Roman inscriptions; sepul- 
chral stones (cippi), etc. — Room XXI. Gallic mythology (interesting). By the 
end-wall, to the right of the door, 24, 414. Cernunnos, a god in an attitude re- 
sembling that of Buddha (relief). Middle window, three-headed deities in stone 
and bronze. Last window but one, 17,321. Altar; behind it, to the left at the 
extreme end window, 35,224, 26,248, etc., Reliefs and effigies of Epona. — 
Room XXII, on the other side of the staircase. Sculptures relating to the 
Boman legions in Gaul. — Room XXIII. Building materials, etc. — 
Room XXIV and adjoining passages. Cinerary urns, coffins, etc. — 
Rooms XXV & XXVI. Sculptures illustrating Gallic costumes, arts, and 
pursuits. In the latter room, entrance-wall, left: 8276. Gauls making fans 
(similar to Japanese fans); 23,920. Gallic veterinary surgeon (?) bearing 
on his arm a 'hipposandal 1 , or shoe for sore hoofs (found at Nancy); 
20,364. Roman bireme (or galley) from the time of Augustus; 24,437. Stele 
of Blussus, a Rhine boatman (original at Mayence.) 

First Floor. Rooms I-II1, to the right, contain objects of the pre- 
historic or bone and flint period. Room I: Cut flints and bones of animals 
either altogether extinct or no longer found in France. Cases 1-15 (1 on 
the left of the fireplace) contain objects found in alluvial deposits and 
the open country; Cases 16-33 contain tools and bones from caverns, 
the first shelter of primaeval man. In Case 12, between the second and 
third windows , are different types of flint implements (from St. Acheul, 
in the Somme department). Cases 22, 25, 26. Bones of reindeer with pic- 
torial carvings, curious specimens of prehistoric art. In the middle, caste 
of the heads of the woolly rhinoceros (R. tichorinus), cave-lion (Felis 
spelsea), great cave-bear (Ursus speleeus), urus (Bos primigenius), and the 
so-called Irish elk (Megaceros hibernicus); also a tusk and molars of the 
mammoth (Elephas primigenius). On the walls next the court are large 
frames with casts of works of art of the 'reindeer period 1 (drawings on 
bone and horn). On the end- wall is a map of Gaul at that period. By the 
right-hand windows are fragments from the floor of a cave in Perigord, 
with fossilized bones, bits of stone knives, and remains of food. — Room II. 
Megalithic monuments and implements of the polished-flint period. Models 
of dolmens and 'menhirs 1 (V20 of the real size), the former being used as 
burial-places and the latter as memorial-stones; objects found in dolmens; 
implements and ornaments in bone, earthenware, stone, and ivory. — 
Room III. Dolmen from the tumulus of Gav'rinis , Brittany, and casts of 
the unexplained characters from the tumulus. To the left of the mantel- 
piece is an interesting collection of flint arrow-heads. 

Adjoining this room is the Qalerie de Mars or Salle des Fetes, occupy- 
ing the whole height of the first and second stories. It is in process of 



378 Route 24. ST. GEUMAIN-EN-LAYE. Mxiste. 

re-toration (closed). This room is also called the Salle de Comparaison, as it 
will contain objects from different countries, more especially copies of anti- 
quities found in foreign countries. 

Returning to Room III we ascend thence by a short staircase adjoin- 
ing the Galerie de Mars (open the door) to the — 

SECOND Floor. — To the left, in the turret, is the Salle de Numismaliqtte 
(not numbered'), containing Gallic, Gallo-Roman, and Merovingian coins, 
silver votive objects found at Vichy, trinkets, Merovingian pottery and 
arms, tiluiltv, and gla*s (in the 1st central case). The 6th case (opposite) 
contains Merovingian fibula* and other objects in bronze, gold, and glass. 
Characteristic features of the barbaric art of this epoch are the inlaying 
of gold on glass and the use of precious stones. — Room IV. Continuation 
of the bone and flint period : bones from the Swiss lake dwellings ; weapons 
of flint, bone, and wood. — Room V. Objects of the bronze period. In 
the (10th) glass-case in the centre are about a thousand different articles 
found in a vault at Larnaud (Jural. — Room VI, Gallic antiquities of the 
early historic period. Tumuli (burial-places), weapons in iron and bronze 
objects of other kinds, found in tumuli. In the 2nd case (1. of the 
entrance), Gallic helmets-, in the 20th (in the middle) and some of the 
following cases, fine bronze vases, torques, etc. 

Room VJJ, on the other side of the staircase. Continuation of the 
Gallic antiquities : burial-places of the if ante ; fibula 1 and torques in bronze ; 
weapons, etc., of iron; black, brown, and grey terracotta vessels. — 
Room VI II. Objects from the burial-ground of Chassemy, in the department 
of Aisne. — Room IX. Specimens of Gallic tombs; reconstruction of a 
•Burial in a chariot, found at La Gorge-Meillet (Marne), with the chief below 
and an attendant above. The original objects found in this tomb are in 
Case 2, to the left. — Room X. Gallic tomb from La Cheppe (Marne). — 
Room XI (Salle Moreau). Objects found in Gallic, Roman, and Merovingian 
cemeteries from the district of Fere-en-Tardenois. To the left of the 
entrance, mosaics from Autun and Ancy; Gallic swords. Left wall, 
vases, etc. At the end, mosaics from the villa discovered at Ancy: stag, 
elephant, etc.; fibula* in the form of parrots, studded with garnets and 
other stones; Roman amphora 1 , swords; glass, etc. — Room XII. Roman 
pottery. — One of the rooms on this floor is devoted to a collection of 'Ob- 
jects from the Reindeer Epoch, presented by M. E. Piette, and consisting of 
singularly realistic carvings and graffiti on reindeer horns and mammoth 
bones, including drawings of a woman with a reindeer and a woman with 
a hood, from Mas d'Azil (Ariege); also, coloured pebbles, curious har- 
poons, and ivory *Figurines. Another room contains a Prehistoric and Celtic 
Collection, presented" in 1908 by Baron T. de Baye. Both rooms are at 
present accessible for specialists only. 

First Floob. Room XIII (Salle d'Alesia). Roman conquest of Gaul. To 
the left, Roman soldier armed with the piluni ; in the centre, large relief- 
plan of Alesia (the modern Alise-Ste-Reine, in the Cote-d'Or department), and 
Of the siege of that town by Caesar ; farther on, models of Caesar's besieging- 
works and of objects found in the excavations at Alise. Models of other 
works of Csesar: bridge on the Rhine, works before UxeUodunum (perhaps 
the modern Puy-dTssolud, in Lot) and before Avaricum (Bonrges) ; model 
of a Gallic wall and articles found at Mont-Beuvray, the Bibracte of Csesar, 
to the W. of Autun; arms, projectiles, and other articles relating to Roman 
warfare; medals, etc. — Room XIV. Gallo-Roman pottery; vases and 
figures. — Room XV. Pottery; vases with red glazing and reliefs; 
extensive collection of glass ; large collection of fibulre and other bronze 
articles, including pincers, needles, etc., in the turret at the corner. — 
Room XVI. Pottery. Objects in bone, etc. — Room XVII. Bronzes and 
Gallo-Roman vases. In the glass-cases: No. 1. Interesting oronzes from 
Neuvy-en-Sullias. No. 2. Excellent bronze head of a horned river -god 
(of the Achelous type). No. 3. Vases and animals in bronze; 31,618. 
Wrestlers (from Abbeville). Nos. 4-18. Gallo-Roman vases, some with in- 
scriptions. No. 5. Bronze mirrors, rings, etc. No. 7. Silver vase with reliefs, 
etc. Nos. 9-15. Lamps, scales; above, Jupiter in bronze (Evreux). No. 19. 
Keys, chest with bronze lock, handles. Nos. '20-21. Knife-handles of carved 



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Terrace. ST. GERMAIN-EN-LAYE. 24. Route. 379 

bone. Nos. 22-25. Spatulas, pins, needles, etc. in bone, strigils, bronze bits, 
etc. In the centre is a bronze lamp stand found at St. Paul-Trois-Chateaux 
(Drome). On the mantelpiece, a bronze bust of Julius Pacatianus, from 
Vienne. By the window, female head in ivory (Avignon). Room XVIII 
(closed). Roman bronzes. 

The Church of St. Germain (PI. D, 3), situated opposite the 
chateau, contains a simple monument in white marble, erected by 
George IV. of England to the memory of James II. (p. 376). The 
monument was restored by order of Queen Victoria. — In the small 
Place to the right of the facade of the chateau is a bronze statue (by 
Merci<f) of Thiers (1797-1877), who died at St. Germain. 

The Edtel de Ville (PI. D, 3), in the Rue de Pontoise, near the 
station, contains a small library and collection of old pictures on 
the second floor (open daily, except Mon., 10-12 and 1-4). — In 
the adjoining square is a Statue of the Republic, by Granet. 

The *Terrace (PI. E, F, 2, 1) of St. Germain, beyond the castle 
and the adjoining 'parterre', extends for l 1 /^ M. along the edge of 
the forest at a height of 200 ft. above the Seine. It was constructed 
by Le Notre in 1672, and commands a magnificent survey of the 
valley, the winding river, and the well-peopled plain. The middle 
distance resembles a huge park sprinkled with country-houses. In 
the 'parterre', to the left of the railway-station, is a marble statue of 
Agrippina, by Maillet, and on the other side, near the terrace, one 
of Vercingetorix , a reduced copy of the statue at Alise-Ste-Reine 
(see p. 378). Below the terrace appears Le Pecq (lift; see p. 372) 
beyond which is Le Vesinet. Montmartre is visible on the horizon, 
and to the right, the Eiffel Tower, but the rest of Paris is concealed 
by Mont Vale'rien. Farther to the right, on the hill, is the aqueduct 
of Marly (p. 373). Beyond Le Vesinet are the hills on which lies 
Montmorency. — A band plays in the kiosque on the terrace on Sun. 
in summer at 3.30, and on Tues. and Thurs. at 8.30 p.m. 

The beautiful Forest of St. Germain is about 11,000 acres in 
extent, being 6 M. long from S.W. to N.E., and 2 1 / 2 -4 1 /2 M. broad 
from S.E. to N.W. The main avenue leads to (2 M.) Les Loges, a 
school for daughters of members of the Legion of Honour holding 
the rank of non-commissioned officers or a position corresponding 
thereto (comp. p. 385). Near it is held the popular Fete des Loges, 
which begins on the Sunday after Aug. 25th and lasts ten days. The 
Pontoise road, striking to the right beyond Les Loges, leads to 
(3 M.) Acheres Station (see p. 380 and the Map). It crosses half- 
way the road from Poissy to Maisons-Laffltte (p. 391) , and passes 
farther on near the Faisanderie. — The Chateau du Vol (17th cent.), 
near the N. end of the terrace, is also worth seeing. 

From St. Germain to Versailles, see p. 370. 

Feom St. Germain to Maisons -Laffitte, 8M., railway (Grande 
Ceinture) in 35-45 min. (fares 1 fr. 90, 1 fr. 30, 95 c). A tramway also 
plies to Poissy (see p. 380), with a branch to (41/2 M.) Maisons -Laffitte 
(p. 391). — The railway describes a wide curve through the Forest of 



380 Route 25. ST. DENIS. Hotels. 

St. Germain. — 2'/2 M. Si-Germain- Or ande-Ceinlure (p. 373). — 5 M. Poissy, 
see p. 443. — 5*/2 M. (41/2 M. by the road) Acheres, see p. 392. — 8 M. 
Maisons-Laffitte, see p. 391. — The railway continues to the left to (6 M.) 
Argenteuil (p. 390), via, Eouilles and Sartrouville (on the main road) and 
Val-Notre-Dame. 

25. From Paris to St. Denis and Enghien. 
Montmorency. 

Chemin dk Fee dd Nord. — The trains between Paris and these places 
follow the Ligne Circulaire between the Gare du Nord and the Gare 
St. Lazare (18 M.). Three trains or more every hour from the Gare du l^ord 
(PI. G, 24; also 'trains-tramways 1 ). To St. Denis, in 8-14 min. (fares 80, 
55, and 35 c. ; return 1 fr. 20, 85, and 55 c). To Engbien, in 15-25 min. 
(1 fr. 35, 90, and 60 P.). 

St. Denis may be reached also by Tramways starting from the Optra 
(T N F and TNG Us); from the Madeleine (TNE); from the Trinitt (going 
on to Epinay, p. 386); and from the Porte Maillot (TNAE). See Appx., 
pp. 40, 44. — The journey (uninteresting) takes about 3 /4 hr. ; fares 60 
or 30 c. 

We start from the Gare du Nord (p. 209). — li/ 4 M. La Cha- 
pelle- St- Denis (PI. B, 22), "beyond the huge goods - station of the 
Chemin de Fer du Nord, where the line is crossed by the Chemin de 
Per de Ceinture (see Appx., p. 46). A little "beyond the fortifications 
the railway to Soissons via Crepy-en-Yalois (p. 407) diverges to the 
right. — 272 M. La Plaine- St- Denis. The 'trains-tramways' also 
stop at Le Landy and the Pont de la Bevolte. 

4^2 M. St. Denis. — Hotels. Modern Hotel, Rue dela Fromagerie 2 
(PI. C, 3), opposite the cathedral, R. 2»/2-5, B. 3 /i, dej. 21/2, D. 3 fr. ; Hotel 
do Commerce, Place aux Gaeldres 1 and Rue de Paris 27 (PI. C, 3). — Ca/4 
de V Industrie. Rue du Chemin -de -Fer 27; Cafe" de Paris, Rue de la Re- 
publique 20; Cafe" du Commerce, Rue de Paris 60. j 

Tramway Stations (see above). Those of the Opera and Madeleine 
lines (coming from Paris) are at the Barrage (PI. C, 1); the cars traverse 
the town from S. to N., passing the Rue de la Republique (PI. C, 3), 
where passengers alight for the (1/2 M.) cathedral (1o the right). The 
station for the return-journey is in the Rue de la Republique, 3 min. 
from the cathedral (at the corner of the Rue de Paris). 

Post & Telegraph Office (PI. P & T; B, C, 3), Rue de la Republique 61 
and Avenue de Paris 110. 

Admission to the Tombs. At 10.5, 11.5, 12.5, 12.35, 1.35, 2.30, 3.5, 3.35, 
4.5, 4.35, 5.5, and 5.35 on week-days; Sun. and holidays 11.5 (unless they 
clash with a no-vena or 'neuvaine', in which case the hour is 3 p.m.). 
Visitors give a fee to the guide. Adm. to the sacristy, treasury, and crypt, 
50 c. (free during the festival of St. Denis, 9-17th Oct.). 

St. Denis, a prosperous industrial town of 60,808 inhab., with 
building - yards , chemical factories , etc., is situated near the right 
bank of the Seine, on the Canal St. Denis (p. 241) and the rivers 
Croult and Bouillon. It is chiefly celebrated as the burial-place of 
the kings of France. 

The importance of the town dates from the foundation of its Ben- 
edictine abbey by Dagobert I. (d. 638). Under the Carlovingian dynasty 
the monks of St. Denia are found concerning themselves with political 
as well as with spiritual matters. When Pepin the Short took possession 
of the throne of France in 751 he sent Fulrad, Abbot of St. Denis, to 
Rome, to procure the papal confirmation of his title. Threeyears later Pope 



History. ST. DENIS. 25. Route. 381 

Stephen II. took refuge here from the Lombards, and anointed Pepin's sous 
Charlemagne and Carloman. Here, in presence of his nobles, Pepin handed 
over his dominions to his sons before he died. The members of the house 
of Capet also favoured this abbey. Louis VI (d. 1137), whose best adviser 
was the penetrating, sagacious, and liberal abbot Suger (see below), solemnly- 
adopted the Oriflamme (' au^iflamma , , from its redand gold colours), or standard 
of St. Denis, as the banner of the kings of France. It was suspended above 
the altar, whence it was removed only when the king took the field in per- 
son. Its last appearance was on the unfortunate day of Agincourt(p. xvi). 
Abe" lard (p. 244) dwelt in this abbey during the 12th cent., until he became 
abbot of Paraclete near Nogent-sur-Seine. During the absence of Louis VII 
on a crusade in the Holy Land (1147-49) Suger became the administrator 
of the kingdom, and used his power to increase the dependance of the 
nobility on the throne. Among the other merits of this renowned abbot 
is that of having collected and continued the chronicles of the abbey. 
The Maid of Orleans hung up her arms in the church of St. Denis in 1429. 
In 1593 Henri IV abjured Protestantism in this church , and in 1810 
Napoleon I. was married here to the Archduchess Marie Louise. 

The railway- station (PI. A, B, 3) is 3 / 4 M. from the cathedral 
(omnibus, 15 c.) To reach the latter we cross the Canal St. Denis 
(p. 241) and follow the Rue du Chemin-de-Fer, and then the Rue 
de la Republique. At the beginning of the latter stands the parish 
church of St. Denis de VEstrie (PI. B, 2, 3) , in the style of the 
13th cent., built by Viollet-le-Duc in 1864-68. We then cross 
the Rue de Paris, which intersects the town from N. to S. To the 
left is the Hotel de Ville (PI. C, 3), in the Renaissance style , built 
in 1883. 

The *Catr~edk.al or Basilique of St. Denis (PL C, 3), converted 
into a parish church in 1895, traditionally occupies the site of a 
chapel erected about the year 275 above the grave of St. Dionysius, 
or St. Denis (p. 214), to which the faithful (including St. Genevieve, 
p. 283) resorted from far and near. Dagobert I. (p. 380) substituted 
a church for the chapel, and also built an abbey, where he and his 
successors were buried. Several later reconstructions took place, one 
at the hands of Pepin the Short (d. 768). The Allot Suger (1121-52) 
decided to build on a more magnificent scale, discarding all but the 
crypt and a few columns of the former structure. Suger's building 
marks the beginning of the Gothic tendency in architecture, the 
development of which from the Romanesque style can, to a certain 
extent, be traced here. In the facade round and pointed arches alter- 
nate , whereas in the other portions Gothic arches only are found. 
The choir, consecrated in 1144, is surrounded by radiating chapels, 
a feature of the Romanesque style, and at the same time exhibits 
the Gothic buttress-system in an advanced stage of development. 
A thorough restoration, necessitated hy the instability of the found- 
ations and also hy a fire, was carried out from 1230 onwards by 
the abbots Eudes Clement and Mathieu de Venddme, whose leaning 
to the Gothic style was still more marked. The upper part of the 
choir, the whole of the nave, and the transept were entirely rebuilt. 
During the 14th cent, additional chapels were erected in the N. 
aisle and in the E. wall of the S. transept. St. Louis (d. 1270) was 



382 Route 25. 



ST. DENIS. 



Cathedral. 



the first to erect monuments to Ms ancestors in the choir, and it 
became the custom to raise a memorial in the sacred edifice to every 
king on his death. The honour was afterwards extended to princes 




and other illustrious persons. Under the Revolution the cathedral 
was sacked and the tombs were desecrated (1792-93). The costly 
restorations effected by Napoleon I., Louis XVIII, and Louis 



Cathedral. ST. DENIS. 25. Route. 383 

Philippe were, in bad taste ; but under Napoleon III., who in 1859 
entrusted the work of restoration to Viollet-le-Duc, one of the 
greatest Gothic architects of modern times, it regained much of its 
ancient magnificence. 

The West Facade formed part of the building consecrated by 
Abbot Suger in 1140. It contains three recessed portals decorated 
with sculptures , which, however, were freely and somewhat un- 
skilfully restored in the 19th century. Those of the central portal 
represent the Last Judgment, and the Wise and Foolish Virgins; 
those of the S. portal , St. Denis in prison , after a painting in 
the Louvre (p. 139), and the Months; and those of the N. portal 
(modern), St. Denis on his way to Montmartre and the signs of the 
Zodiac. The bronze doors are all modern. The battlements along the 
top of the facade were erected for defensive purposes during the 14th 
century. Behind them rises the high-pitched roof of the nave, sur- 
mounted by a statue of St. Denis. On the right and left are two 
towers , one of which (the left) does not rise higher than the battle- 
ments. — The statues of princes and the Martyrdom of St. Denis on 
the portal of the N. transept are in better preservation. 

The Interior consists of nave and aisles, crossed by a simple 
transept. Length 355 ft., breadth 130 ft. The dim twilight of the 
Vestibule, which dates from Suger's time and is borne by heavy 
columns, forms a striking contrast to the airy and elegant Nave 
of the 13th cent., with its slender columns, its triforium, and its 
thirty-seven large windows, each 33 ft. high. The stained glass 
is nearly all modern, except that in the Lady Chapel. The Migh 
Altar, and the altar behind it, known as the 'Confession de St. Denis' 
(with the relics of the saint), are modern imitations of the style of 
the 13th century. 

The Church of St. Denis is chiefly important and interesting as 
the Burial Church of the French Kings, nearly all of whom from 
Dagobert I. are interred here with their families (comp. p. 381). The 
monuments, damaged daring the frequent alterations of the church and 
more especially during the Revolution, were replaced in 1816 with the 
aid of the fragments preserved by A. Lenoir (p. 292), and were restored 
by Viollet-le-Duc. They now form an imposing collection of French 
mediaeval and Renaissance sculpture. Visitors are, unfortunately, allowed 
too little time to study details , but casts of some of the finest tombs 
may be seen in the 'Musee de Sculpture CompareV, at the Trocu- 
ddro (p. 231). — Hours of admission, see p. 380. 

N. Side. *Tomb of Louis XII (d. 1515) and his consort 
Anne de Bretagne (d. 1514), executed in 1516-32 by the Juste 
family, of Tours. This is a shrine in the Renaissance style, with open 
arcades resembling those of the Visconti monument at the Certosa 
near Pavia. The king and queen are represented twice: below on 
the sarcophagus in a recumbent posture, executed in a rude, realistic 
manner, and again in a kneeling attitude above. Beneath the arches 
are statues of the Twelve Apostles. At the corners are allegorical 
figures. On the pedestal are small reliefs of the entry of Louis XII 



384 Emit :'.». ST. DENIS. Cathedral. 

into Milan [1499), his passage Of the Genoese mountains (1507), 
his victory over the Venetians at Agnadollo (1509), and their final 
submission. — Then, to the right, a ftne*iSp»rol Column by Barth. 
Pricur, commemorating Henri 111 (d. 1680). Behind it is another 

column with three genii, by Jean Pieart and Giov. della Bobbia, which 
contains the heart o\' Francis 11. From this point we see, to the 
right of the high-altar, the tomb of Pagobert I. (d. 038), an 
interesting monument of the 13th cent., with curious allegorical 
reliefs representing the king's soul leaving his body and its reception 
in heaven, a recumbent statue of Pagobert (modern), and erect 
statues of Sigobert, Dagobert's son (modern), and *0/uoen Nantilde 
(13th cent.). The adjacent coloured Madonna (14th cent.) was 
brought from the church of St. Martin-des-Champs. — To the left, 
*Tomb of Hani 11 (d. 1559) and his queen Catherine de Medici? 
(d. L589), the masterpiece o\' the architect IVerre Leseoi and the 
sculptor Germain Pilon. executed in 1504-83. This tomb, o\' white 
marble, is in the same style as that of Louis XII, with twelve 
columns and twelve pillars. The deceased are represented twice: 
by nude marble figures on the tomb and by bronze figures in a 
kneeling posture above the entablature. At the corners are bronze 
statues of Faith, Hope, Charity, and Good "Works, by Ponce Jacquiau. 
The reliefs are by Pegnaudin and Rowsel. Behind are monuments 
o\' the family of Valois. — We now ascend some steps. 

OHOIR. To the right of the steps are the Tombs of' Blanche and 
Jean, the children of St. Louis, interesting works in embossed and 
enamelled copper. The former was originally in the abbey oi' Poissy 
(p. 443); the latter in the abbey of Koyaumont. — Above, to the 
left, is another monument to Henri 11 and Catherine, de Mc'dicis (see 
abo\ e): recumbent marble figures on a bronze couch. It is said that 
in her old age the queen disapproved of the nude figures on the 
other monument, and caused these robed and elderly effigies to be 
executed. — The chapels round the choir, to which we now pass, 
contain no monuments; but the Lady Chapel has ancient stained- 
glass windows, a mosaic pavement dating from the 12th cent., and 
sculptured scenes from the life of Christ. — Opposite the sacristy 
is the interesting Tomb of Pre'degonde (d. 597), of the 11th or 
I'ith cent., which was formerly in the Church of St. Germain-des- 
Pre's. The figure of the queen is represented by a kind of mosaic, 
formed of small pieces of differently coloured marble, the shape being 
outlined by thin strips of copper. 

The Sacristy fadm., p. 380), to the S. of the choir, was adorned in 
the 19th cent, with ten paintings relating to the history of the abbey. — 
On the left is the Tkeascky, now containing little that is not modern. 
Chief among the ancient relics are a copper altar-piece, in repousse work, 
of the L2th Dent., and a gilt copper cross (divided lengthwise into two 
sections), dating from the loth eenturv. — On quitting the sacristy ^\ c 
descend sixteen steps on the left to the S. transept, and thenee by a flight 
o( steps on the right to the Critpt (p. 385) 

In the chapel to the right of the choir is the Monument of Berlrand 



Cathedral. ST. DENIS. 25. Route. 385 

du Gueeclin (&. 1380), one of France's most heroic warriors in hei 
contests with England. In the left eye is indicated the wound 
which the constable received in battle. The tomb of his companion- 
in-arms, the Constable Louis de Sancerre fd. 1402j, is close by. — 
Two interesting reliefs here from Ste. Catherine-du-Val-des-P'ooliers 
refer to avow to erect a church of St. Catharine, taken by the 'serpents 
d'armes' at the Battle of Bouvines (121£). The fraternity of sergoants- 
at-arms (who discharged certain ceremonial functions at tournaments, 
etc.) was founded by Charles V, and this monument probably dates 
from a period posterior to that. — Statue of Charles V (d. 1380), 
by Andre* Beanneveu (1364). — Tomb of Renee de Longueville, a 
daughter of Francois II, Duke of Longueville, who died (1515) at 
the age of seven years, from the Eglise des CeTestins. Opposite 
are the monuments of Philippe le I/ardi (d. 1285) and Philippe le 
Bel (d. 1314). — To the left, 'Monument of Francis /. (d. 1547), 
with kneeling figures of the king, his wife Claude (d. 1524), and 
their children on the entablature, and scenes from the battles of 
Marignano and Ceresole, in relief, on the pedestal. This monument 
is in the same style as that of LouisXII, and is still moresumptuous. 
Jt was carried out by Philibert Delorrne. The sculptures are by Pierre 
Bontemps (the children), Marchand (the recumbent figures), Jacquiau, 
etc. — *Urn, containing the heart of Francis I., a masterpiece in 
the Renaissance style by Pierre Bontemps , representing the Arts 
and Sciences and adorned with exquisite reliefs. This work was 
originally destined for the Abbey des Hautes-Bruyeres near Kam- 
bouillet. — Monument of Louis d 'Orleans (d. 1407) and Valentine 
de Milan (d. 1408), erected by their grandson, Louis XII, in the 
Eglise des Celestins, and due to Milanese artists. — Monument of 
Charles d'Etarnpes (d. 1336), a masterpiece of the 14th century. 

The Cktpt was built by Suger for the bones of St. Denis and his two 
fellow-martyrs. The central part, under the sanctuary, is occupied by 
the burial-vault of the fcourbons, which was formed by Henri II and 
now contains the coffins of the following royal and princely personages : 
Louis XVI, Marie Antoinette, Louis XVIII, Adelaide and Victoire de France ; 
the Due de Berry and two of his children; Louis Joseph and Louis Henri 
Joseph, the last two princes of the house of Conde"; lastly, Louis VII, 
and Louise of Lorraine, wife of Henri III, which were brought from else- 
where. — In the crypt-chapels and by the external wall of the central 
part of the crypt are a few indifferent statues, including a Statue of Marie 
Antoinette, a kneeling figure in a ball dress, by Petitot; a Statue of 
Louis XVI, by Gaulle; a Statue of Diana of France, of the 16th cent., etc. 

The extensive buildings which adjoin the church belong to the 
old Abbey, which was transformed by Louis XIV and Louis XV. 
Since 1809 they have been the seat of the Maison ^Education de 
la Legion dHonneur (PI. C, 3), a school affording a free education 
to 500 daughters of officers, members of the Legion of ITonour, down 
to the rank of captain, and also of civilian members. 

In the Rue de la Boulangerie, to the S.W. of the basilica, at No. 15, 
is a Musee Municipal (PI. C, 3 ; open daily 2-4), occupying an old 

Baedeker. Paris. 16th Edit. 25 



386 Route 25. ST. DENIS. MusSe. 

hospice. It is chiefly composed of objects discovered in 1901 on the 
site of the church of the Trois-Patrons (5-6th cent,), which stood on 
the IS. side of the basilica. 

At the entrance to the museum are two interesting mutilated statues 
from the Petite-Paroisse (see below). — Room I (the former chapel). Objects 
excavated in lflOL. To the left of the entrance, Gallo-Roman stone sarco- 
phagus; in the centre, three Merovingian sarcophagi (plaster), with skeletons, 
pottery, and .jewelry. In a glass-case at the end are pottery with sepulchral 
ornamentation (5-l5th cent,); Gallo-Roman antefix ; Roman coins of Mag- 
nentius (of Frankish extraction; d. 353), Nero, etc.; a double Tournois 
(coin of Charles II); Merovingian sword, etc. On the left, capitals, frag- 
ments of embroidered fabrics. Picture from the old chapol of the Carmelites 
(see below). This room contains some fine 17th cent, iron-work. — Room II. 
Cabinet ou the right: Bones found in 1900, including an enormous tibia, 
'20 in. long. Portrait of Mine. Roland, by Mine. Lebrun f?j); drawings by 
Parrocel, Dilaroche, and Winterhalter ; curious plan of St. Denis (1575). 
End-cases : Ecclesiastical objects (wooden ciborium from La Vendee); police- 
documents of the Revolution; Roman lecythus. On the left, charters of 
Philippe, bishop of Beauvais (1183), and Bartkelemy, bishop of Laon (1126). 
The cases here contain modern cameos, a chest of the 15th cent., objects 
excavated at Mouceau-le-Neuf (Aisne), Gallo-Roman and Merovingian fetishes, 
etc. On the end-wall, Banner of the Medallists of Ste. Helene. Central 
cases: Fossils, line collection of minerals (especially amethysts). On the 
tops of the cases are small cannon of Louis XlV's time which were still 
in use in 1815. On the left of the entrance, Roman pottery, keys of the 
town of St. Denis, etc. — Part of the building, which comprised the hostelry 
of the Trois-Patrons, rests on curious waggon-vaults supported by pillars, 
beneath which (lows the river Croult (apply to the custodian). 

Near the Place aux Gueldres (PI. 0. 3) is an old 18th cent, church 
known as the Petite-Paroisse, now converted with the adjoining Car- 
melite convent in to a Law Court (PI. C, 3). Princess Louise of France, 
daughter of Louis XV, was the foundress of this convent, which she 
entered in 1770. The handsome cupola with its rose-windows rests 
on Ionic columns. Above the door is a Pieta; on the right and left, 
Christ and the scribes, Simon and the Child (apply to the concierge; 
fee). — The Square Thiers (PI. B, 4") is embellished with a statue 
of Vercingetor'u, by J. Berlin. — At the Porte de Paris (PL C, 4) 
stands the monument of N. Leblanc (d. 1806), the chemist, by lliolle. 

In the Seine, beyond the railway, is the lie St. Denis, and on the 
opposite bank is the Plaine de Gennevilliers, with the village of that name 
(p. 310), 2Va M. from St. Denis. 



Fbom St. Dknis to Enghien. — A short way beyond St. Denis 
the main line of the Chemin de Per du Nord (p. 394) diverges to the 
right. Our line passes the Fort de la Briche. To the left flows the 
Seine. — 6 M. (from Paris) Epinay-sur-Seine , a village of 3438 
inhab., about l /z M- to tne ^^ °f tue railway (conveyance 20 c), on 
the right bank of the Seine, and i*/j M. from Gennevilliers (p. 340). 
In the neighbourhood are the farm of the Temps-Perdu and the 
Chateau d'Epinay, where Francisco de Assisi, consort of Queen 
Isabella II. of Spain, died in 1902. 

Tramways to Paris (Place de la Trinite) and to St. Denis, fee Appx., 
p. 44. — Steamboats to St. Denis, Asnieres (p. 339), and Puteaux-Suresnes, 
see pp. 340, 348. — Railway to Beaumont, see pp. 394, 395. 



ENGHIIEM 

MONTMORENCY 
L: 25,000 


Nlc t res 

i 



Montmo] eiug * ■ 



Korl de MontmoitM 




Cr-.ivr ct miprmu' p:u«'i^iof ,v IVWs. ' ■ 



Em. of Pari*. ENGHIEN-LES-BAINS. 25. Route. 387 

Ikom BPIVAT 10 Nojsv-i.k Sko, 8 M., Grande (Jointure Railway. The 
chief station is (5'/2 M.) Ze Bourget (p. 408,). — At Noisy -le- Sec (9759 Inhab.) 
the Grande Ceinture Railway joins the Ghemin de Fer de L'Est. See 
p. 242 and Baedeker'' s Northern France. 

The Grande Ceinture Hallway also runs from Epinay to (3 M.J Argen- 
teuil (p. 390), skirting the Seine. 

7 M. La Barre-Ormesson, the station for Ormesson (on the left) 
ttnd Lfl /iarre (on the right), with 'dependanees 1 of the old Chateau 
de la Chevrette, the name of which recalls the memory of J. J. Rous- 
seau and Mme. d'Epinay. 

7 l /<2 M. Enghien-les-BainS. — Hotels-Restaurants. Hits Bains, at 
the Btablissement; use Qtjaxrb-Pavillons, opposite ; de la Paix, Grande- 
Rue; at these three, R. from 5, de'j. 4, D. 5 fr. \ Gu.-fiox. d'Ehghisx, Grande- 
Rue, de'j. 3-4, D. 4-5 fr. 5 Hot. Bbau-8bjoub, Grande E-ue, de'j. 8, D. 4 fr. ; 

Hot. du Casino, opposite the Casino (sec below), in the Av. de Ceinture, 
with garden. — Pension. Let Tilhuls, Grande-Rne 33, pens. 8-10 fr. 

Cafes. Kiosgue Chinois , on the hank of the lake; Halle des Fetes, with 
garden, Av. du Casino-, Cafi, du Nord , opposite the station. — Casino, 
with a terrace in the form of a ship, 15 fr. per month, 45 fr. per season 5 
2 pers. 25 or 80 fr. ; 3 pera. 30 or 90 fr. (balls, concerts, etc.). — Kcksaal 
j/Enghien, opposite the Casino, entrance Grande-Rue 52, 20 fr. per fort- 
night: 2 pers. 30, 3 pers. 45, 4 pers. 60, 5 pers. 70 fr. ; per month 30, 50, 
75, 90, 100 fr. — Brasserie de la Pcrix, beside 1he Hot. de la Paix (cafc- 
concert; D. 3 fr.). 

Thermes (in summer, from April latj. Mineral water, 10 c. per glass, 
subscription for a fortnight S l /-£ fr., a month 6 fr. ; sulphur- baths 2-5, douche 
l'/2-4 3 /4 fr- ; less for subscribers. Cver 100 baths, latest improvements, large 
open promenade. Temp. 50-57° Fahr. — Small Boats on the lake, 2 fr. 
per 'course' (2'/2 fr. on Sun.) and 1/2 f'« additional for each pers. beyond 
one; ferry across the lake l'/2 fr. 

Cabs at the station: per hr. 2'/z fr. (3 fr. on Sun. and holidays); to 
Montmorency, 2>A or 2Va fr- 

Electric Tramway every 10 min. from the station: 1. To St. Oralien 
(see below), via Enghien and the lake (10 and 15 c); 2. To Montmorency. 
A tramway also runs between Enghien and La Trinite" (p. 212), via. Epinay, 
St. Denis, and St. Ouen (Appx., p. 44). 

Post & Tklkgbapii Office, Grande-Rue 83. 

House Races. Twice a month in summer. Adm. 3, 5, 10, 15, and 20 fr. 
The cour.se is nearly 1 M. to the N.W. of Enghien (tramway). 

Enghien (130 ft.), a pretty little modern town with 4067 inhab., 
is pleasantly situated on the banks of a wooded lake ('/2 M. long, 
y 4 M. broad), and near the forest of Montmorency. It enjoys some 
reputation for its Sulphur Springs, discovered in 1776, which have 
proved beneficial in diseases of the mucous membrane and of the skin. 
The Etablissement, at the W. end of the Grande-Rue, is well- 
organized. Opposite is the Casino. — Enghien is a great resort of 
Jewish families from Paris. 

St. Gralien, a village situated about 1 M. beyond the lake, to the right, 
is uninteresting. The church contains a modern monument to Marshal 
Catinat (1637-1712; by Nieuwerkerke) , who owned the chateau behind the 
church, and two pretty groups of children in bronze, by Mme. Bertaux; 
also, the tomb of Princess Mathilde (d. 1904), with a replica of her bust 
by Carpeaux. Tramway, see above. 

From Enghien to Montmorency. — Railwat (372 M.) in 8 min.; 
50 or 25 c. The train passes La Pomte-Raquet and Roisy. — The Tramway 
(nearly 1 M. ; 30 or 25 c. ; see above) stops at the Orangerie, Ht. VaUry (both 
near the church), and the Rue de Clairvaux. 

25* 



388 UouU MONTMORENCY, Environs 

Montmorency. Hotels, lionet, db France, at the station, B. 8*5, 
B, 1, dcj. 2*/ii fr. 3, pens, 7-8 fr.j on Cbbvai Bi »nc, Place du Marohe, 
a favourite resort of artists Id the tstii oent.j H6t. Restaurant des Dbob 
TOURE! i B8, to the left Of the Station. — Cafes-Restaurants. ChaM d«* 
Flews, at the station, dcj. 'J 1 ,'-, l>. 3 t'r. ; dts Trois-lfovsqueteiirs*. at the 
Hermitage, with a casino; I'm* R«*tentron< d« VEnnitagt, Boul, de t'Srmitage 
(see below), ■ Gabs at EfcyratttTj, aear the Hotel de Prance* 1-Spers, 2 fr. 
perhr., 3 fr, on San., I pars, 2»/> < n ' ;>>1 i fr. 

Montmorency, ;ut ancient town with 6419 Inhab., is a favourite 
summer-resort o\' the Parisians, chiefly owing to its beautiful forest, 
It is noted for its vegetable produce and cherry- orchards. 

Montmorency has given its name to an illustrious ducal family, which 

traces its descent from the 10th cent., ami has counted among its members 6 

constables of Prance, 12 marshals, l admirals, several cardinals, etc, 

Their castle was devastated at the Revolution and pulled down in 1814. 

The Avenue F.milo leads from the station to the Place du March 6, 

traversing the modern quarter of the town, in which a Monument to 

Jean-Jacques Rousseau, by Oarrier-Belleuse, is to be erected. To 
the left, in the Rue Oarnot, Is the Hotel de vnie, formerly the E6te] 
Ab.itiu'i'i (18th cent.), surrounded by a public garden containing a 
fine Cedar o( Lebanon. 

On the first floor Is a Rousseau Museum, open free on Sun. 2 1 (fee 
50 c on week-days). Rousseau's furniture and writing-table arc shown, 
together with the two reading-lamps which be used at night in the open 

air, his death-mask by Ihuulon, views of his various residences, several 
busts and statues, autographs, and handsome editions of his works. — 
The M:< '. in the same building, contains portraits ami autographs 

of ("'retry (see belOWJ and Adam Miekiewie/, (.p. COS), who IS buried ai Mont- 
morency; a genealogical table of the Montmorency family-, fossils, etc. 

The Rue Gre*try loads to the E. from the Hotel de Yillo to the 
ESrmitage (see below). 

The old town, with its steep and winding streets, extends to 
the S. In the Justice de la l\iir is the Municipal Library (open on 
Sun. A Thurs., 2-4), The Church, with its small but conspicuous 
spire, dates from the 14th cent, and contains the tombs of two Polish 
generals. In the Rue du Temple we pass an interesting Renaissance 
House, with fine sculptures. 

The names of the Avenue Smile, which begins at the station, and the 
Boulevard de PSrmitage, which runs thence to the B., recall the Ermitage 
de J«cm-Jacqtn - which Bfme. d'Spinay presented to the philosopher, 

and where he and Therese Levasseur lived from L756 to LTf>7. The house 
Is now private property and not accessible to visitors, It may be reached 
from the station in 10 min. via the Hue retry (see above"), opposite the 

•Yrai Restaurant de PSrmitage', Rousseau lived in the house to the right 

Of the entrance (Rue de I'Knuitac.e BO), which now consists of one slots 
only, and there wrote 'Smile' and 'l.e Gontrat Social', and completed his 
'Kouvelle UeloVse'. Q-r6*try, the composer, occupied the same house from 
1788 till his death in 1818, 

To the N.E. of the Boulevard de rErmitage is the Ch&taignetait 
a fine group of chestnuts, where the above-mentioned restaurant is 
situated. 

The Forbst OP Montmorbncy, which begins at the Chataigneraio, 
covers a very irregular tract, about bOO'o acres in extent. The forest 
consists mainly of chestnuts and is dominated by the Forte of Mont- 



of Parte. ERMONT. 25. Boute. 389 

moreney and Montlignon, which form part of the outer fortifications 
of Paris. The pleasantest route, well-marked and easy to follow, 
ascends to the N. of the station and skirts the S. slope of the forest 
to (172 M.) Andilly. The church in this village contains copies 
of old pictures, one of which, Mt. Olympus, has been described by 
Rousseau. From the bill just above the prospect extends to the 
heights of Montniartre, Mont ValeTi'en, and St. Gormain-en-Laye. 
About l /2 M. to the N.E., beyond the fort of Montlignon, we rea<-h 
the Croix- Blanche (restaurantj , whence we may descend by the 
Carre four du Pont d'Enghien (cafe"- restaurantj to (l 1 /^ M.) the 
Chateau de La Chazxe, with the scanty ruins of a castle of the 14th 
century. This spot is about 4 M. to the N.W. of Montmorency and 
nearly in the centre of the forest. 

From Enghien to Paris via Argenteuil. — 10y 2 M. Railway in 
4.0-50 iain. 5 fares 1 fr. 80, 1 fr. 20, 80 c. 

The train passes the lake of Enghien, embosomed in trees, on 
the left, and the racecourse (p. 387) on the right. Fine view on 
the same side. On a height in the distance rises the tower of the 
Chateau de la Tour, above St. Prix fsee below). — 8 M. (from Paris J 
St. Oratlen (p. 387). 

9'/ 2 M. Ermont-Eaubonne, two villages V2 M. to the N.W. and 
1 M. to theN. of the station respectively (with 3101 and 1889 inhab.), 
which were distinguished by the residence there of Mine. Uoudetot, 
Saint Lambert, and Rousseau. An omnibus runs between Ermont 
and Margency (2 M. ; 40 c), Andilly (2'/2 M. ; 50 c. ; see above), 
Montlignon ('P/ 2 M. ; 40 c), and Saint- Prix (3 V2 M. ; 50 c.J. The last 
of these pretty villages was the temporary abode of Sedaine (d. 1797), 
the dramatic author, P. L. Courier (d. 1825), the pamphleteer, and 
Victor Hugo. Railway to Pontoise and to Valmondois, see below. 

The line now turns to the S. Beyond (10 M.) Sannois the train 
descends between the hills of Orgernont (400 ft.) on the left and of 
Sannois and Cormeilles on the right (p. 390). — 12 M. Argenteuil, 
and thence to Paris, see p. 390. 



26. From Paris to Pontoise. 

18'/ 2 or 211/2 M. Railway in ^t-V/t hr., either from (lj the Gave duNord, 
via, St. Denis, Enghien, and Ermont; or from {2) the Gare St. Laxarc, via. 
Ar^ren teuil and Ermont; or from (3) the Gave St. Luzare, via, Argenteuil 
and Conflans-Ste-Honorine; or from (4) the Gave St. Lazare, viaMaisons- 
Laffitte and Acheres. Farea 3 fr. 25, 2 fr. 20, 1 fr. 45 c. ; return-ticket 
4 fr. 85, 3 fr. 50, 2 fr. 30 c. Comp. the Maps, pp. 338 and 390. 

A. Via St. Dbnis on via. Aegenteuil and Eemont. — For the 
two routes from Paris to (9^2 M.) Ermont, beyond which they are 
identical, see pp. 380-389. Ligne de Valmondois, see p. 395. 

To the right, in the distance, is seen the chateau of La Tour, 
rising from the Forest of Montmorency (p. 388), to the left, the hills 



390 Route 26. ARGENTEUIL. Environs 

of Cormeilles (see below). — 10 M. Cernay.— 11 M. Franconville. The 
station is about 7'2 M. to the N. of the Tillage (pop. 1779), and li/ 4 M. 
from Cormeilles (see below). We next see the Fort of Cormeilles, 
at the W. end of the chain of hills. — 13 M. Montigny-Beauchamps. 
Montigny, about 1^2 M. to the S.W., is more conveniently reached 
by the line next described. — 15 M. Pierrelaye. Farther on a junc- 
tion-line branches off to the right towards Beaumont (p. 396). — 
18 M. St-Ouen-V Aumone (p. 392). — On the right we have a fine 
view of Pontoise. To the left our line is joined by that from Acheres 
(see p. 392). The train crosses the Oise. — I872M. Pontoise (p. 392). 



B. Via Argenteuil and Conflans-Sainte-Honoeine. — From 
Paris to (3 M.) Asnieres, see p. 339. — On the left is the line to 
St. Germain (p. 375). — 31/2 M. Bois-de-Colombes (12,726 inhab.). — 
41/2 M. Colombes (23,061 inhab.). — We cross the Seine. 

6 M. Argenteuil (Soleil-d'Or, with restaurant, near the bridge; 
Cafes-Restaurants, at the_ station), an ancient town with 17,375 
inhab., owes its origin to a nunnery founded in the 7th century. 
Theodada, daughter of Charlemagne, was one of the abbesses, and 
HeToi'se, beloved of Abelard, chose it as her retreat. The Gares de 
l'Ouest and de Grande Ceinture are on the N.E. of the town. The 
Church at the other end, is a modern building in the Romanesque 
style, and claims to possess the seamless coat of our Lord (distinct 
from the seamless robe or upper garment at Troves), which, it is 
alleged, was presented by Charlemagne to the ancient convent. A 
festival in honour of the relic is celebrated in the first week of May. 
The wine of Argenteuil is mediocre, but its asparagus is justly cele- 
brated. — Argenteuil is the headquarters of pleasure-boat sailing near 
Paris. Steamboat to Paris 172ir- Tramway to Asnieres. 

Below Argenteuil an Aqueduct Bridge carries the liquid sewage of Paris 
across the Seine 5 the Pump, on the left bank, raises it to the height of the plain. 

The Pontoise railway then crosses the Ligne de Grande Ceinture, 
and diverges to the left from the Ermont line, making a wide carve 
to the N., and then to the N.W., traversing the vineyards of Argen- 
teuil. To the right stretch the fortified Heights of Sannois (445 ft.) 
and Cormeilles (545 ft.), commanding a fine view, to the W., of 
the valley of the Seine. — IO72 M. Cormeilles-en-Parisis (omnibus 
to Pontoise station, 1 fr.), a large village (pop. 2654) picturesquely 
situated on the S.W. slopes of the hill of the same name. Near 
the church (13th and 15th cent.; modern tower) is a bust of 
Daguerre (1787-1851), the pioneer of photography, a native of 
Cormeilles (comp. p. 416). We traverse another deep cutting 
and two viaducts. To the right are the curious Butte de la Tuile 
(395 ft.) and Montigny (other station, see above), prettily situated 
at the end of the heights of Cormeilles, about 1 M. from Herblay. 
The church of Montigny contains some good wood-carvings of the 
time of Louis XV. — 127 2 M. Herblay (pop. 1990), a village with 



ii «->>>• HWMOIs 




of Park. MAISONS-LAFFITTE. 20. Boute. 391 

a conspicuous church (12th cent.), on the steep right bank of the 
Seine, opposite the forest of St. Germain-en-Laye. 

15 ] /2 M. Conflans-Sainte-Honorine ( Cafe - Restaurant on the 
quay) is a large Tillage (3212 inhah.) picturesquely situated on the 
steep right bank of the Seine. On the height arc an ancient tower, 
the Church (12-I6th cent.), containing the Chapelle Ste. Jfonorine 
with a shrine and relics of the saint (9th cent.), and a chateau. The 
festival of St. Honorific takes place on Feb. 27th. The COnflnen.Ce 
of the Seine and Oise, from which tin; Tillage takes its name, is about 
l/gM. lower down, near the station ofConnans-Fin-d'Oise (p. 392), 

The continuation of the line to Mantes (p. 443) here diverges to 
the left, while our line turns to the N. — 177$ M. Eragny- NeuviUe, 
on the left bank of the Oise. Here we join the following route. 



C. Via. Maisons-Laj'Fittb and Aohesss. — From Paris to 
(?) M.) Asnieres, see p. 339. On the left is the line to Versailles, on 
the right that to Argenteuil. — O 1 /^* La Garenne-Bezons, seep. 371. 
Here the line to St. Germain-en-Laye fp. 375) diverges to the left. 
To the right is the reformatory of Petit- Nanterre, and farther on are 
Argenteuil and the heights of Montmorency, Sannois, and Cormeilles. 
We again cross the Seine. — 8 M. JJouiUes-Carrikres-iSt-JJenis. The 
former of these villages (3824 inhah.) lies near the railway, to the 
right, the latter (1661 inhah.) about l 1 ^ M. to the left. The church 
of Carrieres contains an interesting stone altar-piece (12th cent.). 
To the left we see St. Germain. — 10 M. Sartrouville (p. 392). To 
the right is the chateau of Maisons. We again cross the Seine. 

lO 1 ^ M. Maisons-Laffltte. — Hotel, do Soleil-d'Oe, at the end 
of the Avenue Longueil. — Caf^s-Rkbtaujkants: du Pavillon-de-P Horloge, at 
the end of that avenue-, du Pare, behind tbe preceding, at the entrance to 
the park. — Post <t: Telegraph Office, Avenue Longueil. — Electric Tramway 
to Paris (Forte MailJot), in the same avenue, near the station. — (Jmrtibui 
to St. Germain (p. 375), via Carrieres-sous-Bois. 

Maisons-Laffdte, so called from the former owners of its chateau, 
is a town with 6730 inhab., situated near the forest of St. Germain, 
on the left bank of the Seine, mostly in a park. The broad Avenue 
Longueil, beginning near the station, leads past the Mairie and a 
modern church to the chateau. 

The Chateau de Maisons, which was erected by Fr. Mansart in 
1642-51 for Rene de Longueil, Surintendant des Finances, after- 
wards belonged to the Oomte d'Artois (1777), Marshal Lannes, and 
M. Laflitte, the banker (1818). It was purchased by the state in 
1905, and is now being converted into a museum of decorative 
art of the 17th cent. (comp. p. 153). Visitors (ring at the side-door) 
are shown the rooms once occupied by the Grand Conde" and the 
king, in which cabinets by Boule, bronzes by Oaffleri, and works 
by Poussin, etc. are to be exhibited. A large portion of the former 
park, parcelled out in building-lots by M. Laffitte, is now studded 
with the villas of Parisian financiers. 



392 Route '26. PONTOISE. Environs 

The Race Course, one of the most important near Paris (about l l /i M. 
in length), skirts the bank of the Seine. It is reached from the chateau in 
l /\ hr. by following the avenue passing in front of the iron railing, and then 
bearing to the right. Visitors approaching from Paris (by tramway) turn 
to the right immediately beyond the bridge. Opposite the race-course lies 
Sartrourille, prettily situated 1/2 M. to the right of the railway station (see 
p. 391). 

Special trains are ran from Paris on race days (fares 4, 3, or 2 fr.). 

"We next pass through the lower part of the forest of St. Ger- 
main. — At (1372 M ) Acheres (buffet), l'/ 2 M. from the village 
of that name and not far from the race- course of St. Germain, our 
line diverges to the right from those of the Grande Ceinture and 
Rouen, both of which pass (3 M.) Poissy (p. 443). Farther on is 
a station for the Village of Acheres , beyond which we again cross 
the Seine , near its confluence with the Oise. To the left is the 
hill of the Hautil or Hautie (555 ft. 5 fine view). 

16M. Conflans-Fin-d J Oise, about 72 M. from the village (p. 391). 
Near the station the Oise is crossed by a suspension-bridge (toll 6 c). 
To reach (I72 M.) Andresy we cross the bridge and turn to the left. 

Our line again follows for a short distance the left bank of the 
Oise, passing under the lofty viaduct of the line to Mantes. The 
river a little farther on makes a de'tour of 6 M. — 18 72 M. Eragny- 
Neuville, where we join the line from Paris via Argenteuil and 
Conflans (p. 301). Then St-Ouen-V Aumone (see p. 393). To the 
right is the Nord line to Paris and Beaumont ; to the left the line 
to Pontoise, crossing the stream. 

2172 M. Pontoise. — Hotel de la Gaee, at the station, R. 2-4, dej. 
2'/2, D. 3 fr. •, Hot. dd Geanp-Cerf, near the bridge $ Soleil-d'Ot. — Cafe's de 
la Oare and de VH&tel-de-Ville. 

Pontoise, the Briva Isarae of the G alio -Roman period, is an 
ancient town with 8180 inhab., picturesquely situated on a height 
on the right bank of the Oise, at its confluence with the Viosne. 
It was frequently the residence of the Capetian kings. As the 
capital of the Vexin (Yeliocasses) it was frequently involved in 
the wars of the kings of France with the kings of England and the 
dukes of Normandy, and also in the civil struggles of later date. 
The only remains of its fortifications are the walls of the ancient 
chateau, which protected the town on the side next the river. 

On leaving the station we see facing us, on an eminence, the 
Church of St. Maclou, with a handsome flight of steps in front of it. 
At the top of the steps is a marble statue, by Lemot, of General 
Leclerc (1772-1802), a native of Pontoise, husband of Pauline Bona- 
parte and so brother-in-law of Napoleon I. The church is a Gothic 
edifice of the 12th cent., reconstructed in the 15-16th centuries. 
The Romanesque influence is still apparent in the choir and transept. 
The tower (of 1547) terminates in a lantern in the Renaissance 
style. The beautiful Flamboyant rose-window in the W. facade 
should be noticed. The Chapelle de la Passion, to the left on enter- 
ing, contains a Holy Sepulchre, in the style of the Renaissance, 



of Paris. AUVERS. 26. Route. 393 

with eight statues and groups of the Resurrection and the Holy 
Women. The Stained OLass Windows date from 1545, with the 
exception of those adjoining the tomh, which were executed in 
1864 hy Didron. Opposite the pulpit is a Descent from the Cross, 
by Jouvenet, and the choir contains some rather heavy wood-carvings 
of the Renaissance. 

In the Rue Lemercier, not far from the Hotel de Ville, which 
is on the side next the valley of the Oise, is a Musee, established in 
a small 15th cent, mansion, containing antiquities, fayence, and works 
by Savine, Rude, Gerard, L. Robert, P. Delaroche, etc. 

The road to the left, at the end of the square, leads to the 
Promenade, at the end of which is a mound commanding a fine 
view. — The Church of Notre- Dame , in the lower part of the town, 
dating from the 16th cent., contains the tomb of St. Gautier (Wal- 
ter), founder of the Abbey of St. Martin de Pontoise (11th cent.), 
a curious monument of 1146, with a 6tatue of the saint. — The Fair 
of St. Martin is held at Pontoise, Nov. ll-13th. Above the station is 
a Stone Bridge, commanding a good view of the town and connecting 
it with St-Ouen-l'Aumone (see below). Between the two bridges 
is a large Hospital, the chapel of which has a good picture, by Phil, 
de Champaigne, of the healing of the lame man. 

From Pontoise to Dieppe, via Oisors, comp. p. 443 and see Baedeker's 
Northern France. 

From Pontoise to Beaumont. 

12i/2 M. Railway in 80-35 min. (fares 2 fr. 25, 1 fr. 50 c, 1 fr.). 

The train crosses the Oise and enters (*/2 M.)#£ -Ouen-VAumone. 
This station is farther from the town than those mentioned at pp. 390 
and 392. Farther on r to the right, is the Chateau de Maubuisson, 
on the site of the Cistercian abbey of that name, founded by Blanche 
de Castille in the 13th century. It includes a huge barn and a tower 
of the 13th or 14th cent, (at one corner of the park). — iy 4 M. 
Epluches. We again cross the Oise. — 2*/2 M. Chaponval. — 4*^ M. 
Auvers (Hot. Lebrun), a prettily-situated village (pop. 2402) with 
an interesting church of the 12-1 3th cent, (interior restored). It 
is much frequented by artists, especially Americans, and there is 
good fishing in the Oise. Near the church is a bust (by Fagel; 1906) 
of Daubigny (1817-78), the painter, who lived at Auvers. About 
1 M. to the right, on the other bank of the river, lies Miry (p. 395), 
on the line to Valmondois. — 6 M. Valmondois (see p. 395). 

From Valmondois to Beaumont, see pp. 395, 396. 



394 

27. From Paris to Beauinont-sur-Oise. 

A. Via Montsoult. 

23 M. Railway in 3/ 4 -lVi hr. (fares 4 fr. 35, 2 fr. 95, 1 fr. 90 c). — Departure 
from the Gare du Nord. 

This is part of the direct line from Paris to Beauvais and Amiens. 
— 6 M. Epinay, junction for the St. Denis and Enghien line (p. 386). — 
7^2 M. JDeuil-Montmagny, two localities, the former (pop. 3410) on 
the left, at the foot of the hill of Montmorency , -with a Romanesque 
church of the 12-15th cent, and relics of St. Eugene, the latter (pop. 
1349) on the right, "below the Butte Pingon with its fort. — 8 ! /2 M. 
Groslay. BetweenDeuil and Groslay lies the Lac Marchais. — 972 M. 
Sarcelles-St-Brke. The two villages (2348 and 1214 inhab. respect- 
ively) are about 2/3 M. apart (omn. 15 c, Sun. 25 c.) and "both contain 
old churches. The train ascends the dale of the Rosne. 

11 M. Ecouen-Ezanville. Ecouen (pop. 1648), to the left, pos- 
sesses a handsome Chateau of the 16th cent., built by Jean Bullant 
for the Constable Anne de Montmorency (p. 399) and afterwards in 
the possession of the Oonde family. It is now one of the schools for 
daughters of members of the Legion of Honour (comp. p. 385). Visi- 
tors are admitted on Thurs. and Sun. at 2 p.m. with a card obtain- 
able at the Chancellerie de la Legion d'Honneur, Rue Solfe'rino 1, 
Paris. The Church boasts a 13th cent, choir and some due stained 
glass attributed to Jean Cousin. — Le Mesnil-Aubry, 2V2 M. to the 
N., has a Renaissance church. 

13 M. Domont (pop. 1645), on the N. slope of the forest of 
Montmorency (p. 388), is crowned by a fort. The church possesses 
a 12th cent. apse. — 13*/2 M. Bouffemont. — 15 V2 M. Montsoult- 
Maffliers. Montsoult, */2 M. to the W., on the edge of the forest of 
Lisle- Adam, contains an attractive chateau and a church of the 16th 
century. The church at Maffliers, on the N.W., has a 16th cent, choir, 

Fkom Montsoult to Luzarches, 7 M. , railway in 25 min. (fares 

1 fr. 35, 90, 60 c). — 3 M. Belloy - St- Martin. Belloy, to the right, 
contains an interesting church dating from the 16th century. St. Martin-du- 
Tertre, to the left, is picturesquely situated on an eminence on the S.E. 
border of the forest of Carnelle (p. 395). To the left is the Chdteau de 
Franconville, mentioned below. — The train now enters a cutting, beyond 
which we have a line view to the left of the valley of the Oise. — About 

2 M. to the N. of (4 l /2 M.) Viarmes is the old Abbey of Royaumont, dating 
from the 13th cent. , now a nunnery and not open to visitors. — 7 M. 
Luzarches (Hdtel St. Damien, dej. 2 l /c, D. 3, pens. 7 fr.), a small and very 
old town (1377 inhab.) with the church of St. Damien (12-lGth cent.). 
About H/4 M. to the N.E. is the forest of Coye which extends to the forest 
of Chantilly (p. 404). The road passing the station leads through the town 
and then ascends to the S. through a wood, immediately beyond which is 
the (2 M.) Chdteau of Champldtreux, built in the 17th and 18th centuries. 

20 M. Presles (pop. 1238; H6t. Paillard). To the right is seen 
the magnificent Chdteau of Franconville-sous-Bois, rebuilt in 1877 
by the Due de Massa, with a fine park containing statuary. The nearest 
station to it is (1 M.) Belloy, on the Luzarches line. — 22Yo M. 
Nointel, with a handsome chateau and park. — To the left is the Forest 



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L'ISLE-ADAM. 27, Route. 395 

of Carnelle, with many attractive walks and the 'Pierre Turquoise', 
a remarkable megalithic monument. — The train crosses the Oise. 
23 M. Beaumont-sur-Oise, see p. 396. 

B. ViA Ermont and Yalmondois. 

25 M. Railway in V/t-i 1 /^ hr. (same fares). — Departure from the Gave 
fit. Lazare. 

From Paris to (9Y2 M.) Ermont, via Argenteuil, see p. 389. — On 
the left is the line to Pontoise. — 10 M. Ermont- Halle. The forest 
of Montmorency crowns the hills on the right. — 10^2 M. Gros-Noyer. 

12 M. St-Leu-Taverny (3156inhah.) formerly possessed a chateau 
and park, belonging to Louis Bonaparte, King of Holland, and after- 
wards occupied by the last Prince of Conde, who hanged himself there 
in 1830. The first street to the right of the station leads to the Church, 
containing the tombs of Charles Bonaparte, father of Napoleon L, 
Louis Bonaparte, and two of the latter's sons. In the apse, the marble 
Monument of King Louis, by Petitot (apply to the sacristan, Grande- 
Rue 47). At the end of the Grande-Rue, to the right of the church, 
is a Place, whence a street diverges on the left to the monument of 
the Prince de Conde, a column surmounted by a cross and adorned 
with two angels. 

12^2 M. Vaucelles. — 13 M. Taverny (2743 inhab.), to the left, at 
the foot and on the slope of a hill adjoining the forest of Montmo- 
rency and commanding a fine view. The Church, halfway up the hill, 
dates from the 13th and 15th cent, and is one of the handsomest in 
the environs of Paris. Above the 8. portal is a fine rose-window in 
the Flamboyant style. The interior contains a handsome stone altar 
in the Renaissance style and wood-carvings of the same period 
(by the S. door), representing the martyrdom of St. Bartholomew. — 
14V2 M. Bessancourt, with a church of the 13th and 15th centuries. — 
15 M. Frepillon. — 1572 M. Sognolles. — 16 M. Mery-sur-Oise. The 
village (pop. 1849) is ^2 M. from the station. The church of St. Denis 
is of the 15th cent; the chateau has belonged to the Lamoignon 
family since 1798. Superb view of the valley. — 17^2 M. Meriel, 
on the left bank of the Oise. 

The ruined Abbaye du Val, 1 M. to the E., presents various features of 
interest to archaeologists and others. It is reached by following the road 
beyond the village, and then turning to the left. The abbey, a Cistercian 
establishment secularized in 1<91, now contains a manufactory, to the pro- 
prietor of which application for permission to enter must be made. The 
chief remains consist of an edifice of the 12th cent., with two stories, con- 
taining the refectory and chapter-house, and one of the walks of the old 
cloisters. 

The railway crosses the Oise and joins the line to Pontoise. 

I8Y2M. Valmondgis, the junction of the Pontoise line (p. 393) and 
of a branch-line to Marines and Nesles. 

2OY2 M. L'Isle-Adam (Ecu de France, near the bridge, pens. 8 fr.), 
a pleasant little town of 3639 inhab. on the left bank of the Oise, 
which here forms two islands, and at the foot of the slopes covered by 



396 Route 27. BEAUMONT-STJR-OISE. Environs 

the forest of L'Isle-Adam. Its origin dates from a castle built in 1069 
on the larger of the two islands and destroyed during the Revolution. 
The celebrated Villiers de l'lsle-Adam, grandmaster of the order of 
St. John of Jerusalem (d. 1534), was a scion of the family that held 
this castle. — The railway-station is at Parmain, on the right bank, 
connected with the town by a bridge spanning the islets, on one of 
which is a private chateau containing some old pictures. 

Following the left bank, we pass near a fountain decorated with 
a bust of the landscape-painter Jules Dupre (1812-89), by Marqueste, 
and reach the Church, a Renaissance edifice of the 16-17th cent., 
restored in the 19th century. The pulpit was executed by a German 
artist in 1560. The choir-stalls date from the same period, while 
the altar-piece in carved wood (in a chapel to the left), represent- 
ing the Passion, is of the 15th century. — The fine avenue to the 
left, beyond the church, ascends to the forest, which affords pleas- 
ant walks. 

The valley now expands and ceases to be picturesque. — 21 M. 
Jouy-le-Comte. — The church of (23 M.) Champagne, on the left, 
has a fine spire of the 13th century. 

25 M. Beaumont-sur-Oise. — Hot. des Quatke-Fils-Aymon, oppo- 
site the bridge, de'j. 3, D. 3 1 /'-', pens. 8 1 /-' fr. ; Hot. dd Gkand-Cerf} Hot. du 
Paon. — Cafi du Commerce; Cafi de VH6tel-de-Ville. 

Beaumont, a small town with 3848 inhab. , lies ifo M. from the 
railway, on a height on the left bank of the Oise. In the 10th and 
11th cent, it had for territorial lords the Counts of Beaumont, but 
it was ceded to St. Louis and afterwards became an appanage of the 
Conde's. The Parish Church, reached by a flight of steps, is an inter- 
esting building of the 13th cent, with double aisles surmounted by 
galleries. The lateral tower was finished in the Renaissance style. 

Passing the church-tower, following the streets to the right, 
and turning again to the right at the Hotel de Ville, we reach the 
Place du Chateau or Promenade, adjoining which is part of the old 
wall of the chateau, with round towers at the corners. 

From Beaumont to Creil (p. 434), 19 J /2 M., in '/a hr., via Bruyeres, Boran, 
Pr&cy, and St. Leu-d? Esserent (Gothic church of the 12th cent.). 



28. From Paris to Chantilly. 

Visitors to Paris should ^p»n no account omit an excursion to Chantilly 
(on Thurs., Sat., or Sun., see p. 398), where they may wander through the 
chateau at their leisure, untroubled by any official conductor, an advantage 
they do not enjoy at Fontainebleau (p. 421). 

Chemin de Ff.k do Nokd (station, PI. B, 24; see p. 31), 25 1 /-' M., in 
li/4 hr. (fares 4 fr. 60, 3 fr. 10 c, 2 fr. 3 return - tickets 6 fr. 90, 4 fr. 95, 
fr. 25 c). Excursion return- tickets are issued (ticket-office No. 21) on 
the days when the chateau is open, for 6 fr. 15, 4 fr. 30, 2 fr. 80 c. ; but 
they are available for certain trains only. 



if! 



From Paris to (4'/o M.) St. Denis, see p. 380. Branch-line to 
Enghien (Montmorency, St. Leu, etc.), see p. 386. Beyond the Canal 



of Paris. CHANTILLY. 28. Route. 397 

St. Denis (p. 241) rise the fort of the Double Couronne du Nord and 
the Fort de la Briche, on the right and left. — 7 M. Pierrefitte-Staim. 
The "village of Pierrefttte (2755 inhab.) is situated on a height com- 
manding a view of the entire valley of Montmorency. Tramway to 
St. Cloud, see p. 346. Stains is a village with 2959 inhab., to which 
the Epinay-St. Denis tramway is about to be extended. 

91/2 M. Villiers-le-Bel-Oonesse. Villiers-le-Bel (pop. 1723), 2 M. 
to the W. of the station, with which it is connected by a steam- 
tramway (30 e.~), lies at the foot of the hill of Ecouen (p. 394). Go- 
nesse (pop. 2757), 2 M. to the E. of the station, has a church of the 
12-13th centuries. Omn. between these villages, 30 c. (Sun. 40 c). — 
From (12^2 M.) Goussainville an omnibus (70 c.) plies to Mareil-en- 
France, A 1 / 2 M. to the N.W., with the old chateau of the Dukes of 
Gesvres. Fontenay-les-Louvres, on the way thither (2*/2 M.), has a 
church of the 12-13th centuries. — 15 M. Louvres, with a 16th cent, 
church. — 18^2 M. Survilliers. 

A diligence (1 fr.) plies hence to Mortefontaine (H6t. de la Providence), 
a village 4i/ 2 M. to the E., with a Chateau and fine Parle, which belonged 
at one time to Joseph Bonaparte. Visitors are admitted on Sun. to the 
chief portion of the park. 

The train now enters the Forest of Coye. — 22 Y2 M. Orry-Coye, 
II/4 M. from Orry-la- Ville (omnibus) to the S.E., and l 3 / 4 M. from 
Coye, to the N.W. From the station we may walk through the wood 
to (15-20 min.) the Etang de la Reine-Blanche (p. 404; comp. the 
Map), and thence to Chantilly. 

The train crosses the valley of the Theve by a handsome stone 
Viaduct of 15 arches, commanding a fine view. To the right are the 
Etang and the Chateau de la Reine-Blanche (pp. 404, 405). Farther 
on the train enters the Forest of Chantilly (p. 404). — To the right, 
as we reach (25^2 M.) Chantilly, we notice the extensive siding 
for the special trains on race- days. 

Chantilly. 

The Station is 1 /i M. to the S. W. of the town (see Map of the Forfit 
de Chantilly, near the left-hand margin). 

Hotels. :: Hotel do Grand -Conde, of the 1st class (patronized by the 
Jockey Club), Rue d'Aumale, opposite the race-course, R. from 6, B. l 1 /^, 
de"j. 5, D. 7 fr. ; d'Angleterre, at the beginning of the Rue du Connet- 
able; du Lion-d'Or, Rue du Conne'table 44; du Petit -Loois, Avenue de la 
Gare 21; d'Albion, Place Conde 13; du Nord, near the station; Hot. -Res- 
taurant i>u Centre, Place de THospice Conde 9, unpretending, dej. or D. 
2V-2 fr. — Restaurant. Eugene Lefort, Rue du Marche 10. (The mineral- 
water drunk at Chantilly comes from the local chalybeate spring of La 
Chaussee.) — Cafes. Cafe" de Paris, Rue de Paris; others at the station. 
^ Cabs. The drivers usually demand IV2 fr. to the town, and 3 fr. to the 
chateau, which is barely 10 min. drive from the station (previous bargain 
essential). Livery stables: Courboin, Herlem, etc. 

Post and Telegraph Office, Rue du Connetable, beside the Hotel 
de Ville. 

English Church (St. Peters); chaplain, Rev. J. P. MacLulich. — 
Wesletan Chapel, Grande -Rue. — Institute for English Stable Boys (of 
whom there are 600 at Chantilly). 



CHANTILLY. Chateau & 

Admission to the Chateau and Pakk (both closed on race-days). — 
The chateau (Mtisie Condi) is open only between 1 and 5 p.m. on Sun. 
and Thurs. (free) and Sat. (1 fr.) from April 15th to Oct. 14th. In winter 
intending visitors should apply by letter to the curator ('conservateur 1 ; 
see below). A 'Guide du Visiteur 1 (80 c.) and a Catalogue of the pictures 
(also mentioned in the 'Guide' ; l'/2 fr.) are sold at the enhance. Illustrated 
catalogue, 6, 7, or 8 fr. — The Park is open all the year round on the same 
days, 1-5.30 p.m. in summer, 1-4 in winter. 

Chantilly, a town with 4791 inhab., was famous especially in 
the 17th and 18th cent, as the residence of the Conde's, and is now 
widely known for its important race-meetings, which are held in May 
and October. It contains large establishments for the breeding of 
race-horses, in connection with which a considerable English colony 
has settled in the town. The silk lace to which the name of Chan- 
tilly is given is now made chiefly in the department of Calvados. 

Quitting the station, we cross the Paris and Amiens road, which 
leads to the left to the Grande-Rue. As the town, however, con- 
tains nothing noteworthy, we may proceed at once to the (l 1 ^ M.) 
Chateau, by the Route du Bois-Bourillon, beyond the railing oppo- 
site the Rue de la Gare, or by the Avenue de l'Aigle, leading to the 
right, close by. 

The Pelouse, or race-course, to the S. of the town, which we reach 
in Y4 hr., is about 115 acres in area, and presents a busy scene in 
the morning when the horses are being exercised. To the right we 
see the Grand Stands, to the left, farther on, the Stables of the Condes 
(p. 404). "We may strike across the race-course to the (8/4 M.) chateau, 
but the Avenue de TAigle, which passes behind the Grand Stands, 
is an easier route (comp. the Map). 

A broad moat containing some ancient carp separates the race- 
course from the castle -grounds, which we enter through a hand- 
some iron gate. The extensive building rising on the right is the 
Chateau d'Enghien, built in 1770 to accommodate the numerous 
guests of the Condes. Opposite is the equestrian statue of Anne de 
Montmorency (p. 403). The chateau proper rises on the left. 

The *Chateau de Chantilly consists of two main divisions : the 
Chdtelet or Capitainerie, built about 1560, probably by Jean Bullant, 
for the Constable Anne de Montmorency, and the Grand Chateau, 
built in 1876-82 in place of the smaller chateau destroyed during 
the Revolution. The present remarkable structure was designed by 
Daumet for the Duke Henri dAumale (1822-97), the fourth son of 
Louis Philippe, and heir to the last of the Condes. Under its roof 
the duke gathered the art- treasures and heirlooms of his family and 
the valuable collections of paintings, sculpture, furniture, and an- 
tiquities which he had amassed during fifty years, bequeathing at his 
death the building and its contents to the Institut de France. The 
Musee Conde, as it is now called, is one of the most important objects 
of interest in the environs of Paris. — Curator, M. G. Macon. 

The mediaeval castle of Chantilly, founded in the 9th cent., belonged 
to the Seigneurs de Senlis until the middle of the 14th century. Rebuilt 



Chateau 

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'NERVE 



Musee Conde. CHANTILLY. 28. Route. 399 

in 1386-93 by the D'Orgemont family, it came by inheritance to the Mont- 
morency family (see p. 398), and the Constable Anne de Montmorency (1493- 
1567), who shared the campaigns and the artistic tastes of Francis I., em- 
ployed Pierre Chambiges (p. xl) to alter and embellish the chateau, to which 
the Chatelet (p. 398) was afterwards added. Duke Henri of Montmorency, 
Anne's grandson, was executed in 1632 for his connection with the rebel- 
lious duke of Orleans, and his possessions passed to his brother-in-law, 
Prince Henri II of Bourbon- Conde'. Under Louis II of Condi (1621-86), 
known as the ' Grand Condi" for his warlike exploits in Alsace, the Nether- 
lands, and S. Germany, Chantilly became the scene of magnificent fetes, 
which were Suspended by the banishment of Conde in 1654 for his com- 
plicity in the wars of the Fronde, only to be renewed with fresh splendour 
after his return in 1660. Mme. de Sevigne" describes (in her 95th letter) the 
gorgeous reception given here to Louis XIV in 1671, and relates the suicide 
of Vatel, the prince's maltre d'hdtel, because the fish failed to arrive in time 
for the royal banquet. Embellished by Mansart and surrounded by a park 
laid out by Le N6tre in 1663, Chantilly at this time rivalled the most sumpt- 
uous royal palaces, while Eacine, Moliere, La Fontaine, Fe'nelon, and Boileau 
were amongst its most frequent guests. Of the buildings planned by Louis 
Henri of Bourbon-Condi (1692-1740), minister of Louis XV, only the stables 
(p. 404) were completed. The Chateau d'Enghien dates from the time of 
his son Louis Joseph (1736-1818). During the Bevolution the Grand Chateau 
was demolished. The last of the Conde's died in 1830 (see p. 395). 

The Porte de la Herse admits us to the Cow d'Honneur, where 
we are confronted by the Peristyle, the entrance to the building 
(sticks and umbrellas must he left). To the left of the Gband Vesti- 
bule (PL 1) is the grand staircase (p. 403) ; in front is the Chatelet 
ai">c^). ¥e ascend the steps on the right to the — 
°y G|£ d Chateau. Galebie des Cekfs or Dining Room , de- 
A1S *? th ei & nt * Ta P es tries of the 17th cent, after Van Orley ('the 
he Emperor Maximilian'). Above the fireplace and the 
fcto '-/ St. Hubert, 537. Venus, 538. Diana, all by Baudry. 

to-^P 1 , E Gauleby, to the right. To the right and left of the 
present, ;-hunt, by Barye, Boar-hunt by Mme (bronzes). On the 
pane, oussin, 298. Infancy of Bacchus, 302. Landscape with 
*® .-.;*; *515. Meissonier, Cuirassiers (1805); *545. A. deNeuville, 
- ..mish on a railway (1870); 438. H. Vernet, The parley; 531. 
Rosa Bonheur, Pyrenean shepherd; *528. Fromentin, Hawking; 
above, 375. Nattier, Mile, de Clermont at the mineral springs of 
Chantilly; 443. L. Robert, Neapolitan woman amid the ruins of her 
house; 428. Gros, Bonaparte in the plague-hospital at Jaffa (1799; 
sketch for the picture in the Louvre); 476. Decamps, Turkish 
children at a fountain, 474. French guards on the road to Smyrna; 
*456. Delacroix, The Foscari; above, 426. Gerard, The three ages; 
309, 308. De Champaigne, Mazarin, Richelieu; 448. Corot, Open- 
air concert; 395. Drouais, Marie Antoinette as Hebe ; 135. Sir J. 
Reynolds, Philippe Egalite, Duke of Orleans, father of Louis Phi- 
lippe (comp. p. 189); 332. Largilliere, Portrait; 383. Lancret, Lun- 
cheon-party ('Dejeuner de jambon'). In the centre of the room is a 
marble bust of the Due d'Aumale. — Rotunda and adjoining rooms, 
see p. 400. — On the left wall, returning towards the entrance : 366. 
De Troy, Luncheon-party ('Dejeuner d'huitres'); 9. Sienese School 
(15th cent.), Dancing angels; *32. Titian, EcceHomo; above, 17. 



400 Route 28. CHANTILLY. Musee 

Francia, Annunciation; *59. Scipione Gaetano (Pulzone), Portrait; 
305. Poussin, Massacre of the Innocents ; 40. Penni, Madonna of Lo- 
reto (after a lost original by Raphael); *35. Palma Vecchio, Madonna 
with SS. Peter and Jerome (1500) ; 301. Poussin, Landscape with Numa 
Pompilius and the nymph Egeria. — At the end of the picture-gallery 
is the Rotunda (PL 2), in the Tour Senlis. The floor is paved with 
mosaic from Herculaneum. The ceiling-painting, the last work oiBau- 
dry, represents the Rape of Psyche. Statue of Joan of Arc, by Chapu. 
The walls are hung with pastels, water-colours, miniatures, and draw- 
ings by Meissonier (513; Artist's studio in the 18th cent.), Decamps 
(483-485), Delacroix (458), Marilhat (501), and Van Ostade (129). 
102. Unknown Artist (10th cent.), Otho the Great (Rhenish minia- 
ture); Rembrandt, Young woman; 139. J. van Ruysddel, Landscape. 

The Vestibule du Musee (PL 3), to the left of the pioture- 
gallery as we quit the Rotunda, contains a bronze Japanese vase. — 
Galerie du Logis (PL 4). Portrait-drawings, chiefly of the 16th 
cent., including specimens of Lagneau, Dumonstier, Nanteuil, and 
Ph. de Champaigne. The Petite Galerie du Logis (PL 5), parallel 
with the last, also contains drawings (by Rigaud, Oudry, Van Loo, 
Greuze, Isabey, J.B.Huet, and Guerin), besides ivory-carvings and 
coins. — Vestibule du Logis (PL 6). Drawings by Raphael (Monk • 
No. 40a. Three heads from the cartoon of the Calling of Pet* 
in London), Leonardo da Vinci (on the right: alleged cartoon ; e 
Gioconda, p. 122), Perugino (study), Giulio Romano, and Ti .olo. 
Bust of the Due d'Aumale, by Dubois (1896). 

Salle de la Smalah (PL 7; comp. p. 356), to the left. Drawings 
and water-colours of scenes from the life of the Due d'Aumale; 
157. Lawrence, Francis I. of Austria; at the end, 551. Dtiaille, 
Mounted Grenadiers at Eylau (1807). — Salle de la Miyerve 
(PL 8), in the Tour du Connetable. Small antiquities. Central Glass 
Case; Tanagra figurines; *Minerva (to the right), Dancing Satyr, 
Jupiter (three Greek bronzes); fine vase from Nola; coins. Six panels 
with Cupids, by Baudry. Drawings by *Prud , hon (frieze of the sea- 
sons), Poussin, Ingres, etc. — Cabinet des Antiques (PL 9). Three 
large Greek bronze vases; articles found at Pompeii. — Cabinet du 
Giotto (PL 10). Small Italian paintings, including 1 (at the exit), 
Giotto, Death of the Virgin ; 14. Rosselli, Madonna. — Salle Isabelle 
(PL 11). 140. W. van de Veldethe Younger, Sea-piece; 434. Ingres, 
Francesca da Rimini; paintings by Th. Rousseau (506), Daubigny 
(519), Dupre (503), Decamps (482-478), Delacroix (457), Gerome 
(533. Duel after the masked ball), Meissonier (514. Dragoon of 
Louis XV's time), and J. van Ruysdael (138. Dunes at Scheveningen). 

Salon d'Orleans (PL 12). Collection of drawings and engrav- 
ings in portfolios, including about 600 portraits of the 16th cent., 
480 drawings by Carmontelle (18th cent.), and 600 by Raffet. On 
the walls are portraits of the Orleans family: 552. Bonnat, Due d'Au- 
male; 521. Jalabert, Marie Amelie, wife of Louis Philippe; 454. 



Conde. CHANTILLT. 28. Route. 401 

Mile. Cogniet, Adelaide of Orleans, sister of Louis Philippe ; paint- 
ings by Allori, Buonaccorsi, and Baroccio. — Sallb Caboline 
(PI. 13). Portraits of the Orleans and Conde families: 330, Largil- 
liere, Mile. Duclos as Ariadne. Also : 136. Van Everdingen, Tempest; 
Greuze, 394. Surprise, 391. Girl's head; 331. Largilliere, Duchess 
Palatine of Orleans; 467 (above the door), Lami, Duchesse d'Aumale; 
371, 372. Small works by Watteau; portraits by Mignard and Nattier. 
— Cabinet Clouet (PI. 14). Chiefly portraits, several by unknown 
artists. To the left, below, 475. French School (late 16th cent.), Diane 
de Poitiers; 113. Barth. de Bruyn, Catharine von Bora; 114. Alde- 
grever(?), Himself; 119, 121. Portraits by Mierevelt; 122. F. Pourbus, 
Henri IV; 49. Primaticcio, Henri II; also portraits by Le Nain, 
Francois and Jean Clouet (Janet), and Mme. Vigee-Lebrun ; 130. 
Tenters, The Grand Conde (1653). — We then pass through the door 
on the right of Room 13, cross the picture-gallery, and enter the — 

Galebie de Psyche. At the entrance, wax bust of Henri IV, 
by G. Dupre (1610). *Stained-glass windows (grisaille) illustrating 
the story of Cupid and Psyche, from the 'Golden Ass' of Apuleius, 
in 44 designs executed in 1541-42 after cartoons of the School of 
Raphael (by Mich. Coxie?), for the Chateau d'Ecouen. The inscrip- 
tions are copied on the adjoining walls. On the opposite wall are 
about 55 portrait- drawings of the 16-17th cent., including a number 
by Clouet, and drawings by Giulio Romano, Raphael, and Van Dyck. 
Also a copy of Michael Angela's Last Judgment. 

*Santuabio (PI. 15), the small room to the right, lighted from 
the top, containing the gems of the collection. At the end, from left 
to right, *39. Raphael, 'Madonna of the Orleans family', in admirable 
preservation (1506); *19. Filippino Lippi, Esther and Ahasuerus, a 
panel from a marriage-chest; *38. Raphael, The Three Graces (ca. 
1505), a small work, purchased for 25,000*. in 1885 ; **201-240. Jean 
Fouquet, Forty miniatures from a book of hours, painted in 1452-60 
for Estienne Chevalier, treasurer of France under Charles VII. They 
were bought for 13,000*. (two others in the Louvre). 

*Cabinet of Gems (PL 16), in the Tour du Tresor, at the end 
of the Galerie dePsyche". The glass-cases contain enamels, miniatures, 
porcelain, fayence, medals, goldsmiths' work, jewellery, weapons, 
and historical relics. Case LXV, to the left of the end-window : 
*Cross from the treasure of Bale (15th cent.); monstrance from 
Braga, in Portugal (16th cent.) ; cup by L. Limosin; five enamelled 
plates by Pierre Courtois. Table Case at the end: *Rose diamond, 
known as the 'Grand Conde'; an enamel by Benv. Cellini; Abd-el- 
Kader's dagger, etc. — To the right we enter the — 

*Tbibtjnb. At the top of the walls are views of the various seats 
of the Due d'Aumale. Paintings, beginning to the left: 158. S. W. 
Reynolds (the engraver), Bridge of Sevres; *146. Sir Joshua Reynolds, 
Lady Waldegrave and child; 450. P. Delaroche, Assassination of 
the Duke of Guise ; above, *445. Ary Scheffer, Talleyrand (1828). 

Baedeker. Paris. 16th Edit. 26 



402 Route 28. CHANT1LLY. Musee Conde. 

— 455. Delacroix, Sketch for the painting of the Crusaders (at the 
Louvre). — 300. Poussin, Theseus finding his father's sword ; 369. 
Watteau, Cupid disarmed; above, 310. Ph. de Champaigne, Abbess 
Angelica Arnaud, 125. Van Dych, Gaston de France, Duke of Or- 
leans; 314. Mignard, Mazarin. — *36. Mazzolino da Ferrara, Ecce 
Homo; *24. Luini, Salvator Mundi; 3 (above), Lorenzo diNiccolo, 
Coronation of the Virgin; 15. Perugino (more probably Lo Spagna), 
Madonna between SS. Jerome and Peter; *107, 108. Memling, 
Jeanne de France and Crucifix.ion (a diptych; bought for 10,000 I.); 
Fra Angelico, 4. St. Mark, 5. St. Matthew; 10. Stefano di Giovanni, 
surnamed Sassetta (not P. Ansano), Mystic marriage of St. Francis 
of Assisito Chastity, Poverty, and Obedience. — 11. Filippo Lippi, 
Madonna and saints; 104. Flemish School (J. van Eyck?), Man and 
woman; 20. Botticelli or Filippino Lippi, Madonna; *13. Pollaiuolo, 
Simonetta Vespucci ; 106. Flemish School of the 15th cent. (Dierick 
Bouts?), Translation of the shrine of St. Perpetua (1466) ; 16. Botti- 
celli, Autumn; *105. Flemish School of the 15th cent. (Van der Goes 
or Memling?), Anthony of Burgundy, half-brother of Charles the 
Bold; *313. Mignard, Moliere; Ingres, 430. Portrait of himself, 
432. Stratonice, 433. Venus Anadyomene, *431. Mme. Devaucay; 
425. Gerard, Bonaparte as First Consul. — 112. Holbein (?),Bugen- 
hagen, the Reformer (1485-1558); portraits by Fr. Clouet, etc. 

We now return to the Grand Vestibule, and turning to the right, 
enter the Ch&telet, or the Appartement de M. le Prince. — Ante- 
chamber (PI. 17): 378, 379. Hunting-scenes, by Oudry; 380, 381. 
Dogs, by Desportes; 147. Hunting-scene, by Hackert ,• Portraits. To 
the left a cabinet with a mineralogical collection presented in 1774 
by Gustavus III. of Sweden. At the end, Chinese and French porce- 
lain; stoneware. — Salle des Gardes (PL 18). At the entrance, 
*126, *127. Portraits by Van Dyck; 132. Portrait of the Grand Conde, 
by J. van Egmont; four *Portraits in enamel by Leonard Limosin 
(on the large wall to the left of the entrance); four other portraits. 
The glass-cases at the sides contain old flags, weapons (Italian knife), 
and souvenirs. By the fireplace, Rape of Europa, a mosaic from 
Herculaneum. The furniture in this and several of the other rooms 
is upholstered in valuable Beauvais *Tapestry. — Bedroom (PI. 19), 
with decorative paintings by J. B. Huet and Rebell; *Commode by 
Riesener, with bronze decorations by Hervieu (companion-piece to the 
one in the Louvre, p. 153). — Grand Cabinet (PL 20). Louis XVI 
*Furniture, bronze vase of 1847, etc. — Salon des Singes (PL 21), 
so called from the decorative paintings of apes attired in fashion- 
able costumes of the 18th cent., attributed to Chr. Huet (comp. p. 186). 
Louis XVI furniture. — Galerie du Prince. 351-363. Paintings 
by Sauveiir Lecomte, illustrating the battles of the Grand Conde 
(1686-92; inscriptions). In the centre is a trophy of arms, with a 
portrait (No. 307; by Stella) and a medallion (by Coyzevox) of the 
prince (1686). The banner was taken at Rocroi (1643) and is the 



Park. CHANTILLY. 28. Route. 403 

oldest military trophy in France. Statuettes ; busts. We return 
to the antechamber, and enter (on the right) the — 

Library, a gallery containing about 13,000 volumes. Some of 
the most interesting MSS. are exhibited in Case 16 : near the middle, 
Breviary of Queen Jeanne d'Evreux, wife of Charles le Bel (ca. 1330) ; 
below, *Book of hours of the Due de Berry, with miniatures by 
Netherlandish artists (ca. 1415), and Psalter of St. Louis (1214); 
also fine bindings. On the chimneypiece is a terracotta bust of the 
Grand Conde, by Coyzevox. 

To the S. of the Grand Vestibule is the Grand Staircase (PI. 22), 
descending to the groundfloor, which is not shown: iron and copper 
balustrade, of admirable workmanship, by the brothers Moreau; 
two Gobelins tapestries (Jason and the bull, after De Troy, and a 
Pastoral, after Boucher)) four light-holders by Chapu. The ceiling- 
painting, representing Hope, is by Maillart. ■ — Gallery leading 
to the Chapel (PI. 23): to the right, two antique chasubles and 
two antique dalmatics ; to the left, drawings by Dilrer (Annunciation) 
and Domenichino (Flight into Egypt), and cartoons by Seb. delPiombo 
(Head of Christ) and Raphael (Madonna). — The — 

*Chapel, a sumptuous structure in the Renaissance style, with 
marquetry and wood- work of 1548, contains an altar by Jean 
Bullant and Jean Goujon, brought from the Chateau d'Ecouen, and 
embellished with a marble relief of Abraham's offering. The fine 
stained glass (1544), representing the family of the Constable Anne, 
was also brought from the Chateau d'Ecouen. In the apse (Tour de la 
Chapelle) behind the altar is the mausoleum of Henri II de Conde, 
father of the Grand Conde, by J. Sarazin, with six bronze statues 
or groups and thirteen bas-Teliefs (1662); at the back is a cippus 
containing the hearts of several princes of Conde'. 

The *Park (adm., see p. 398) was laid out for the most part by 
Le Notre, who began the work in 1663, and was soon afterwards 
chosen to design the gardens of Versailles in the same style. The 
terrace is embellished with an equestrian statue in bronze of the Con- 
stable Anne de Montmorency, by P. Dubois (1886), surrounded by 
groups of stags and dogs, by Cain. 

To the E. of the terrace we enter the 'Pare de Silvie', with its 
numerous shady avenues affording beautiful vistas. In about 8 min. 
from the terrace (guide-boards) we reach the charming little Maison 
de Silvie, a 17th cent, hunting- lodge, which contains portraits, 
tapestries, furniture, hunting-scenes, etc. ; also two paintings from 
the history of the house, by O. Merson. 

The poet TMophile de Viau (1590-1626), condemned to death in 1623 
for his 'Parnasse Satirique', was here concealed by Marie Felice des Ursins, 
Duchess of Montmorency, whom he afterwards celebrated in his verses 
under the name of 'Silvie 1 . The house, which was restored by the Grand 
Conde in 1684, was the scene of the romantic amours of Mile, de Clermont, 
sister of Duke Louis Henri, and M. de Melun, who was killed by a stag 
while hunting in 1724. 

26* 



404 Route 28. CHANTILLT. Forest. 

Thence we proceed in a N. direction, crossing the Canal des 
Morfondus, to (8 min.) the Hamlet, resembling that of the Petit- 
Trianon (p. 370); during the last quarter of the 18th cent, this was 
the scene of many 'fetes champetres 1 . — The park on the other side 
of the Canal de la Manche , with the little chateau of La Nonette 
St. Firmin and the i Yertugadin\ is not accessible to the public. 

We follow the S. bank of the Canal des Morfondus to the central 
part of the park, with a circular basin around which are the best 
statues in the park: Le Notre andMoliere, by T.Noel; Bossuet, by 
Guillaume ; La Bruyere, by Thomas; Bacchus and Hebe, by Deseine; 
Pluto and Proserpine , by Chapw, the Grand Conde, by Coyzevox. 

Le Notre' s park originally extended on the W. as far as the town 
of Chantilly, but about 1820 an English Garden was laid out here, in- 
cluding a Temple of Venus, an Island of Cupid, and other erections 
of the second half of the 18th century. In this direction (placards) 
is a building known as the Jtu de Paume (1757), which contains 
a considerable number of paintings, drawings, and sculptures; 
tapestries; gala carriages; military souvenirs; Abd-el-Kader's tent 
(comp. p. 356); two leaden dogs brought from Orleans House at 
Twickenham, referred to by Pope in his poem 'The Alley'; and other 
curiosities. — After 3.30 p.m. visitors may quit the park by the 
adjoining gate (near the stables). 

Immediately outside is the Porte St. Denis, an unfinished gate- 
way, through which we enter the main street of the town. Here, to 
the left, are the Church (1687-90) and the extensive Stables (Ecuries) 
of the Condes, which date from 1719-36 and hav.e accommodation 
for 260 horses. They are empty at present, but may be visited at 
the same hours as the chateau (entr., No. 15, Grande-Rue; fee). — 
An equestrian statue of the Due d'Aumale, by J. L. Gerome, was 
erected in 1899 to the W. of the stables. The bronze reliefs on the 
pedestal represent the Submission of Abd-el-Kader (1847^ and the 
Capture of the Smalah (1843; comp p. 356). 

A pretly view of the park with the chateau in the background is 
obtained from the Senlis road, about 2 /z M. from the church of Chantilly: 
we take the road to the N. opposite the church, turn to the right beyond 
the Canal de la Mancbe, and proceed to the E., between the houses of 
Vineuil (rail, station, p. 405) and the N. wall of the park, to a point above 
the Vertugadin. 

The Forest of Chantilly (6125 acres ; guide-posts) is well kept 
but occupies for the most part a flat site, and the thick layer of 
sand which, in the interests of the horse-trainers, covers most of 
the roads and paths renders walking disagreeable. The paved 
Route de Louvres and another road to the left at the lion lead in 
about 1 hr. from the chateau to the Carrefour de la Table, an open 
space where twelve roads meet, with a large stone table in the 
centre. — The Etang de la Reine-Blanche or de Comelle is an oblong 
sheet of water, fed by the Theve, a small tributary of the Oise, lying 
between the Forest of Chantilly and the Forest of Coye. Near the 



ix;jj ■<■ />>■: Vl/'C '-1 i: 



- ■'.;'"■ 



CHATEAU ET PARC 
CHANTILLY. 

1 : 19.000 

Metres 




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Env. of Paris. SENLIS. 28. Route. 405 

lower end is the Chateau de la Reine-Blanche, a small modern Gothic 
hunting-lodge huilt in 1826 on the site of an ancient chateau once 
occupied by Queen Blanche, mother of St. Louis. A little farther 
on is the large railway- viaduct, mentioned at p. 397. Near this 
point is the station of Orry-Coye (p. 397), where we may join the 
railway to Paris; hut the express trains do not stop there. 



The Ghemin de Fer du Nord goes on to Creil (p. 434 ; 31 72 M - from 
Paris), a very important station and the junction of five lines, see 
Baedekers Northern France. — Visitors able to spare more than one 
day for the Chantilly excursion are recommended to visit Senlis and 
Crepy-en-Valois on the return- journey to Paris. 

Fkom Chantilly to CrJpy-en-Valois via Senlis, 2272 M., rail- 
way in li/ 4 hr. (fares 4 fr. 5, 2 fr. 70, 1 fr. 75 c). This line, like the 
Nord, crosses the valley of the Nonette by an imposing viaduct of 
36 aTches, 72 ft. in height, and then diverges to the right. — 272 M. 
St. Maximin; 3 M. Vineuil; 472 M. St. Firmin. 

8M. Senlis [Hotels du Grand-Cerf, du Nord, de France, all in the 
Rue de la Republique) is an old town with 7115inhab., with tortuous 
streets but surrounded by handsome boulevards, on the right bank of 
the Nonette. It was the Roman Civitas Sylvanectensium, the residence 
of the governor, and afterwards of the early Merovingian kings. From 
the 6th cent, until the Revolution it was the seat of a bishopric. 

Senlis is worthy of a visit on account of its mediaeval monuments, 
particularly its * Cathedral, which is reached from the station by 
crossing the boulevard and following the Rue de la Republique as far 
as the second turning to the right. This is a handsome Gothic building 
of the 12th cent., with a facade of the 13th, altered in the 16th cent- 
ury. The tower (255 ft. in height), pierced by lofty bays, is justly 
admired for its light and elegant form. The side-portals are in the 
Flamboyant Gothic style. The interior includes a chapter-house of 
the 14th century. — Opposite the portal is a house in the grounds 
of which are some remnants of the Gallo-Roman Walls which were 
flanked by 28 towers, and of the Royal Palace, erected on the ruins 
of the Roman governor's residence. A partial view of these may be 
obtained also from the side~street to the right. — The former Bishop's 
Palace (now the Chambre des Notaires), with an ancient Gothic 
chapel (12th cent.), lies to the right of the choir of the cathedral, on 
the Roman wall. — In the neighbourhood, to the right, is the former 
Church of St. Frarribourg, a fine Gothic edifice of the 12th cent., 
possessing neither aisles nor transept. It is now a riding -school. 
— The Church of St. Pierre (12-16th cent.), on the other side of 
the cathedral, is used as a market; one of its towers is surmounted 
by a 15th cent, spire, the other by a dome. — St. Vincent, in the 
Rue de Meaux, not far from the Porte St. Vincent, with a handsome 
belfry (12th cent.), now serves as a chapel for the ecclesiastical 
college that has superseded the old Abbaye de St. Vincent, rebuilt in 



406 Route 29. DAMMARTIN-EN-GOELE. Environs 

the 18th century. In the same street is a small Municipal Museum. 
The Hotel de Ville (15th cent.), in the Rue du Chatel, and the 
Hotellerie des Trois-Pots (16th cent.), in the Impasse Beaume, to the 
left of the latter street, should he noticed ; many other quaint old 
houses may he found. 

Extensive foundations of a Roman Amphitheatre have been discovered 
to the S.W. of the town, to the left of the road to Chantilly. In the neigh- 
bourhood are the interesting ruins of the Abbaye de la Victoire and the 
Chdteau de Montepilloy. 

The train beyond Senlis passes five stations, of which the chief 
are (127 2 M.) Barbery and (17 M.) Auger-St- Vincent. — 22y 2 M. 
Crepy-en- Valois (p. 407). 

29. From Paris to Crepy-en -Valois via Dammartin. 

38 M. Chemin de Fer du Nord, express train in 1-1 3 /4 hr. (fares 6 fr. 85, 
4 fr. 60 c, 3 fr.). — Departure from the Gave du Nord. 

2 M. La-Plaine-St-Denis, where we diverge to the right from 
the St. Denis line. — 3 M. Pont-de-Soissons. — 3 l /2 M. Aubervilliers- 
Rue-St-Denis. On the left appears St. Denis (p. 380). — 41/2 M. 
Aubervilliers-la-Courneuve. Aubervilliers (p. 242), on the left, is 
connected with Paris by a tramway (see Appx.). — 5 M. Pont-Blanc. 
We pass under the Grande Ceinture line. — 6 M. Le Bourget-Drancy. 
he Bourget, to the left, was the scene of sanguinary struggles between 
the French and Germans on Oct. 28-30th and Dec. 21st, 1870. A 
monument to the French soldiers has been erected. — 772 M. Blanc- 
Mesnil. — 9Y2 M. Aulnay-Ves-Bondy. 

From Aulnay-les-Bondy a branch-line runs to (12 M.) Bondy (6353 in- 
hab.), on the line to Nancy, 7 M. from the Gare de TEst. Tramway from 
Paris, see Appx., p. 42. 

10 M. La Croix-Blanche. — 11 M. Sevran-Livry. On the right 
appears the Forest of Bondy, formerly a notorious haunt of bandits, 
with the powder-factory of Sevran. • — 13 M. Vert-Oalant. The train 
shirts the Canal de I'Ourcq (p. 241), on the right. — 14Y2 M. Ville- 
parisis, IV4 M. to the S.E. of the station (omn. 20c), with an an- 
cient castle. — 17 M. Mitry - Claye. — I8V2 M. Compans, with a 
modern chateau. — "We cross the valley of the Biberonne. — 20 M. 
Thieux-Nantouillet. 

2IY2M. Dammartin- Juilly is the station for Dammartin-en-Groele, 
with 1600 inhab., situated on a height 2y 2 M. to the N.W. (omn. 40 c), 
and embracing a view of 25 M. round. In the church of Notre-Dame 
are preserved the ashes of Antoine de Ohabannes, Count of Dammartin 
(1411-88), the heroic companion of Joan of Arc, and 'Grand Panetier' 
(pantler) of France. About 2 M. to the S. of the station is the College 
de Juilly, founded in the 17th cent, by the fathers of the Oratory. Among 
its pupils have been many celebrated men, e. g. D'Artagnan (1611- 
73), Marshal Villars (1653-1734), and Montesquieu (1689-1755). 
The refectory of the college contains paintings of Louis XV's time 
and consoles dating from the time of Louis XIV (visitors admitted). 



of Paris. CREPY-EN- VALOIS. 29. Route. 407 

26^2 M. Le Plessis-Belleville. An excursion by diligence (1 fr.) may 
be made hence to Ermenonville. 

Ermenonville (Croix-d? Or) , a village (498 inhab.) 3 M. to the N.W., 
near the forest of the same name, is known as the spot where J. J. 
Rousseau died, or possibly committed suicide, in 1778, while staying with 
the Marquis de Girardin. The Chdteau, now the property of Prince Radzi- 
will, at the B. end of the village, was embellished in the 18th cent, by 
Count R. de Ge"rardin ; it is shown by special permission only. The Park, 
intersected by the road which continues the principal street of the village, 
was one of the finest laid out in the 18th cent., and is more in the English 
style than in that of Le Notre. The most interesting part is the Grand 
Pare, to the left of the road and in front of the chateau; it is open to the 
public on Sun. and Thurs., and visitors are admitted also on other days 
on application. The He des Peupliers, in a lake here, contains the empty 
tomb of Rousseau, his remains having been removed to the Panthlon 
(p. 285) in 1794. 

30^2 M. Nanteuil-le-Haudouin. — 35 M. Ormoy - Villers. 

38 M. Crepy-en-Valois (Hotels des Trois-Pigeons, de la Gave), 
a town with 5213 inhab., was the ancient capital of the Valois, 
which belonged to a younger branch of the royal family of France. 
It suffered greatly in the wars against the English in the 14- 15th cent- 
uries. A few traces still remain, on a hill to the left of the station- 
gate, of the Chateau des Valois. Among other interesting buildings 
are the old collegiate church of Si. Thomas (begun after 1180 and 
dedicated to Thomas a Becket), with a facade of the 13th and a 
tower of the 15th century ; the parish church of St. Denis, in the 
Romanesque and Gothic styles, with a modern belfry; and the 18th 
cent. Town Gates. In the interior of the latter church the choir (15th 
cent.), the pulpit, and the other ancient wood-carvings should be 
noticed. — In the Rue St. Denis, which leads hence back to the 
centre of the town, are some quaint houses. 

Railways to Soissons and to Compiegne via Verberie, see Baedeker' 1 * 
Northern France. 



30. From Paris to Sceaux. 

An excursion to Sceaux and Robinson and a stroll through the Bois de 
Verrieres are recommended to those who are interested in the beauties of 
the outlying districts of Paris as distinct from the historic haunts to which 
the ordinary tourist usually confines himself. 

A. By Tramway {TS1; Appx., p. 41), 5'/ 2 M., in 1 hr. 5 min. (fares 
45 or 25 a). The cars start at St. Oermain-des-Pr6s (p. 295) and stop at 
Fontenay-aux-Roses ('correspondance' with other tramways and omnibuses, 
which are usually crowded on Sun. and holidays in fine weather). From 
the terminus we have fully 1 M. to walk to Sceaux by a pleasant road, 
but there is a tramway from the Champ-de-Mars to Ghdtenay via Montrouge 
(p. 338), Bagneux (p. 408), Fontenay-aux-Roses, and Sceaux (see Appx., 
p. 43). 

The tramway follows the wide Rue de Rennes to the Gare Mont- 
parnasse (p. 335). It then turns to the left into the Boul. Mont- 
parnasse and immediately afterwards to the right into the Boul. 
Raspail, which skirts the Cemetery of Montparnasse. Beyond the 
Place Denfert-Rochereau (p. 337), we traverse the Avenue d'Orleans 



408 Route 30. FONTENAY-AUX-ROSES. Environs 

to the church of St. Pierre - de - Montrouge (p. 338), and then the 
Avenue de Chatillon, hy which we quit Paris. — Outside the gate 
lies Malakoff, a village with 14,341 inhabitants. 

Chatillon-les-Bagneux (3353 inhab.) lies at the N. E. foot of a 
plateau, now occupied hy the Fort de Chatillon. 

About 2/ 3 M. to the E. of Chatillon lies Bagneux, with a monument 
erected to the soldiers who fell ion Oct. 13th, 1870, in an attempt to storm 
the heights then occupied by the German troops. Another famous engage- 
ment (on Sept. 19th) is commemorated by a monument on the plateau ot 
Chatillon 2 /s M. to the S. E. — Bagneux is also on the line of tramway 
from the' Champ-de-Mars (see p. 407). Beautiful view from the Tour Btret 
(722 ft.; restaurant). 

At the S. W. end of Chatillon the tramway forks, our route diverg- 
ing to the left. 

Fontenay-aux- Roses (3402 inhab.; Cafe -Restaurant de la 
MairieX 1 M. to the S. of Chatillon, has a station on the railway to 
Sceaux'(omn. to Robinson, 30 c). It carries on a brisk trade in 
strawberries and flowers. A fine view of Paris is enjoyed from the 
N. side of the large Place de la Mairie, where the car stops. 

Travellers bound for Sceaux descend the Rue Boucicaut to beyond 
the Ecole Normale d'Institutrices, and take the turning on the right 
leading to the railway-station (p. 409). To the left of the Rue Bou- 
cicaut is the Church, and to the left of that a Bust of La Fontaine, 
erected in 1894 by the 'Rosati', a poetic fellowship whose headquarters 
are at Fontenay-aux-Roses. 

Those^, however, who wish to proceed direct to (1 74 M Robinson 
(p 410) follow the narrow street descending opposite the tramway- 
office, and turn to the right at the end. At the first fork they may 
either take the Rue de Chatenay to the left, which joins the road 
near the station of Sceaux-Robinson (p. 409), or the Rue du Plessis- 
Piquet to the right, whence another road, diverging to the left, leads 
direct to Robinson. 

B. By Railway (Ligne de Sceaux et Limours), V/z M., in V2 hr. The 
trains start every 1/2 hr. from the Gare du Luxembourg (PI. R, 19: VU 
Boulevard St. Michel 69, at the corner of the Rue Gay-Lussac (PI. K,, 19; v ). 
Luggage, however, is not registered here but must be taken to the old 
station in the Place Denfert-Rochereau. Fares 1 fr. 35, 90, 60 c. ; return- 
tickets 2 fr., 1 fr. 45, 95 c. 

The line is carried by a tunnel under the Boul. St. Michel to the 
station of Port- Royal (p. 331), situated at the Carrefour de l'Obser- 
vatoire (p. 334). Thence another tunnel takes it beneath the Avenue 
de l'Observatoire and the Rue and Place Denfert-Rochereau (p. 337) 
to the station of Paris- Den fert (PI. G, 20), the former Gare de Sceaux. 
The railway then crosses several viaducts and traverses the park of 
Montsouris (p. 338). Yiew on the left of the valley of the Bievre and 
the heights of Belleville. 1 3 / 4 M. Sceaux- Ceinture, the junction for 
the Chemin de Fer de Ceinture (Pare -de -Montsouris Stat.; see 
Appx., p. 45). To the left, outside the fortifications, are the Fort de 
Bicetre and the large Hospice de Bicltre (3150 beds), for the aged and 
insane. Numerous quarries and market-gardens on both sides. — 



of Paris. SCEAUX. 30. Route. 409 

21/2 M. Gentilly, an old village to the left (pop. 7433). Station on 
the Ceinture railway at Maison-Blanche. — 3 M. Laplace. To the 
left is the Aqueduct of Arcueil. 

3*/2 M. Arcueil, a village (8425 inhah.) in the valley of the 
Bievre, with a church of the 13-15th centuries. 

To the left, visible both on reaching and quitting the station, is the 
large Aqueduct of Arcueil, consisting in fact of two aqueducts, one above 
the other, with a total height of 135 ft. The name of the village is derived 
from an ancient aqueduct (Arculi) constructed here by the Romans, on the 
site of which Salomon Debrosse (1613-24) built another aqueduct, 440 yds. 
long, for the purpose of conveying water from the village of Rungis to the 
garden of the Luxembourg. In 1868-72 a second and larger aqueduct was 
placed on the top of this for conveying the water from the reservoir of 
La Vanne (p. 338). 

On the right appear Bagneux, Fontenay-aux-Roses, and the fort 
of Chatillon (p. 408). To the left are L'Hay and Chevilly, also scenes 
of contests during the siege of Paris. 

5^2 M. Bourg-la-Reine {Restaurant-Cafe Perdereaux , in the 
Place ; Cafe Jouffroy, Grande-Rue 66), with 4181 inhah., is a favourite 
summer residence, with fine nursery-gardens. In the Place Con- 
dorcet, about 2 min. from the station, is a marble bust, by Tru- 
pheme, of Condorcet (1743-94), the philosopher, who poisoned 
himself in prison here to escape the ignominy of the scaffold. — 
A branch-line to the left runs through the Bievre valley to Palaiseau- 
Limours (see p. 411). 

6 M. Sceaux (see below). The railway now describes a curve 
to the N., passing (7 M.) Fontenay-aux-Roses (p. 408). — 7 4 /2 M. 
Sceaux-Robinson, a station between the town of Sceaux and Robin- 
son (p. 410). 

Sceaux {Hotel de VEtoile-du-Nord; Restaurant du Pare, near 
the church), a small town with 4541 inhab., pleasantly situated 
upon a hill amid charming scenery. The Chateau of Sceaux, built 
by Colbert , afterwards became the property of the Due du Maine, 
son of Louis XIV and Mme. de Montespan. During the first half 
of the 18th cent, it was celebrated for the brilliant fetes given here 
by the Duchesse du Maine to the little court of wits and 'grands seig- 
neurs' she assembled around her. The chateau was destroyed at the 
Revolution. A small piece of the Park (neaT the church) has been 
preserved and is open to the public (hand on Sun., 1-5). The 
Church contains a Baptism of Christ, by Tuby. Beside it are monu- 
ments to Florian (1755-94), the poet and fabulist, who is buried in 
the cemetery of Sceaux, to the Provencal poet Aubanel (1828-86), 
and to the author Paul Arene (1843-96). About V4 hr. farther on is 
the Lycee Lakanal. A War Monument (1870-71) was erected here 
in 1902. — Sceaux is the meeting-place of the 'Cigaliers' or 'Fe'libres', 
a society whose aim it is to keep alive and foster the literature of 
the Provencal language. — Conveyances (30 c.) meet each train for 
Robinson (25 min.). 



410 Routt 30. BlfiVRES. Environs 

Robinson [Cafes-Restaurants in the chestnut-grove and at the 
station), about y 4 M. to the W. (right) of the station of Sceaux- 
Robinson, charmingly situated at the foot of a wooded hill, is one 
of the pleasantest spots near Sceaux. It possesses numerous garden- 
cafes, with platforms placed amid the branches of the large chestnut- 
trees, and in fine weather it is thronged with pleasure-seekers. Its 
charms are now somewhat marred by factory-buildings. On a height 
a little beyond Robinson is a house with a tower from in front of 
which we command an admirable view of the valley of the Bievre. 

From Robinson to the Bois de Vebrieres is a favourite excursion, 
either on horseback (2 fr. per hr., Sun. 3 fr. ; asses I-IV2 fr. 5 bargain 
advisable) or on foot. Riders usually make it by the road ascending to 
the above-mentioned house with the tower, and passing the inn and farm 
of Malabry, IV4 M. from Chatenay, and the Obelisk (see below). The first part 
of the route is, however, monotonous and devoid of shade. The pleasant 
route by the lower road ifl preferable for pedestrians. This lower road 
leads past (V2 M.) Aulnay, where Chateaubriand had a country-house, and 
through an avenue where we bear to the left for (1 M.) Chdtenay (170K 
inhab.). Tramway to Paris, see the Appx. Just beyond the latter village 
we reach the highroad from Versailles to Choisy-le-Roi, which descends 
to the E. to the railway station of (l*/4 M.) Berny (see below) and ascends 
to the W. through wood to Malabry (see above). Thence we proceed to 
the so-called i Obelisk", a fine old lime-tree in a circular clearing where the 
chief forest -paths converge. In a straight direction beyond the clearing 
we reach the margin of the plateau and of the Bois de Verrieres, where 
we overlook the valley of the Bievre. On the other side we obtain a view 
of a pretty little side-valley, with the ruins of the old Abbaye aux Bois. 

To the W., in a picturesque situation beyond the valley, lies Bievres 
(pop. 1157 5 Hot. du Chariot- d Or), on the slope of a plateau. The station, 
on the Ligne de Grande Ceinture, is 20 min. from Versailles (9*/2 M. 5 Gare 
des Chantiers, p. 349), the trains running through the valley of the Bievre 
and past the village of Jouy-en-Josas. — It is better to return to Paris by 
the Ligne de Sceaux (p. 408) from Sceaux. 



31. From Paris to Chevreuse. 

Railway from Paris (Gare du Luxembourg, PL R, 19, V) to St. Remy- 
Us- Chevreuse, 2OV2 M., in 50-75 min. (fares 3 fr. 70, 2 fr. 50, 1 fr. 65 c; 
return-tickets 5 fr., 4 fr., 2 fr. 60 c). — Chevreuse is about H/2 M. from the 
station, and 2 3 /4 M. farther on is Dampierre, to both of which places public 
conveyances ply (see below). Les Vaux - de - Cernay lies about 4 M. from 
Dampierre. Omnibus for Chevreuse 30 c, for Dampierre 70 c. — This 
excursion may be made as follows: leave Paris about 10 a.m., and on 
arriving at St. Remy take the omnibus to Chevreuse; after visiting the 
ruined chateau, take the railway-omnibus, which starts about 1.30 p.m., 
quit the vehicle at Dampierre, walk thence to Les Vaux-de- Cernay, and 
return in time to catch the omnibus starting from Dampierre at 8 p.m. 
for St. Remy, in connection with the last train to Paris. Visit to the 
chateau at Dampierre, see p. 412. — Hurried visitors may regain Paris at 
an earlier hour by taking the omnibus about 5 p.m. from Cernay to the 
station of Boullay-les-Troux (fare 50 c. ; p. 411). Another omnibus leaves 
Dampierre about 4.30 p.m. for Laverriere, a station on the line from Paris 
to Chartres. — Steam-tramway from Paris to Antony, see p. 413. 

From Paris to (S^M.) Bourg-la-Reine, see pp. 408, 409. Short 
tunnel. To the left are the prisons of Fresnes (p. 413). — 7 M. Berny; 
7^2 M - Antony, a pretty village of 3068 inhab. (train from the Gare 



of Paris. CHEVREUSE. 37. Route. 411 

de Sceaux in !/ 2 hr., 1 &• 10? ?5j 55 c). The Rue de Fresnes, to the 
left of the station, leads to the Chateau de Tourvoie. To the right is 
the Bois de Verrieres. The neighbouring hamlets are Grand and 
Petit Chatenay, Petit-Fresnes, Grais, Malahry, and Paron, with the 
Chateau des Migneaux. 

9^2 M. Massy (pop. 1364) is situated on a hill to the left facing 
the upper part of the valley of the Bievre. On the road to Bievres 
(p. 410) is the Chateau de Villegenis, which "belonged to the Prince 
of Conde. Jerome Bonaparte, King of Westphalia, died here in 1860. 
Omnibus to Verrieres, 25 c. — 10^2 M. Massy-Grande-Ceinture. 
Branch-lines run hence to (9y 2 M.) Versailles (p. 349), (11 M.) Valen- 
ton, and (872 M.) Juvisy (p. 415), via (3 M.) Longjumeau (p. 413). 

11 M. Palaiseau [Ecu de France, Grand' Rue), on the Yvette, 
an ancient place (pop. 2808), which owes its name to a Merovingian 
palace presented in 754 by Pepin le Bref to the abbey of St. Germain- 
des-Pres, and now destroyed. In the Place de la Mairie is a bronze 
statue by Lefeuvre of Joseph Bara, a boy-volunteer killed by the 
Vendeens in 1794 (see p. 308). The Church, behind the town- 
hall, dates from the 13th cent., but has a doorway of the 12th. 

The train now descends the pretty valley of the Yvette, which is 
flanked by wooded hills, and stops at Le Rocher, station for Villebon 
(Restaurant de l'Ermitage), to the E. — 13 M. Lozere. We cross 
the Yvette. Fine view to the right and retrospect to the left. — 
Le Guichet. — 15 M. Orsay, a large village finely situated to the 
left; 1572 M. Bures; 177 2 M. Gif ; 187 2 M. Courcelle. — 207 2 M. 
St. Remy-les-Chevreuse, the station for the valley of Chevreuse; to 
the right are seen the ruins of Chevreuse chateau. 

The railway here quits the valley of the Yvette. — 23V:jM. (from Paris) 
Boullay-les-Troux (3 M.), whence an omnibus plies to (4M.) Cernay-la-Ville 
(p. 412). — 26 M. Limours (2^/2 M.), a large village where Francis I. built a 
royal palace, afterwards the residence of the Dachesse (TEtampes, Diane 
de Poitiers, and Richelieu. 

The road, passing through the village of St. Remy, crosses the 
Yvette and turns to the left. A shorter and pleasanter footpath 
leads along the railway-line to the left, passes the Chateau de Cou- 
bertin, and then runs straight through a meadow. 

Chevreuse. — Hotel du Gband-Coubbieb, Rue de la Mairie; de la Cboix 
Blanche ; de l'Espekance. — Omnibus to Dampierre (p. 412), La Verriere, 
Levy-St-Nom, and Mesnil-St-Denis. — Carriages at Follairis. 

Chevreuse, a small place (pop. 1826), was the capital of a barony, 
afterwards (after 1545) a duchy, which subsequently came into the 
hands of the Guise family. Marie de Rohan-Montbazon (1600-79), 
wife of Claude de Lorraine, Duke of Chevreuse, took a prominent 
part in the intrigues of the Fronde under Louis XIII. The Ruined 
Chateau rises 265 ft. above the town, to which it lends a picturesque 
appearance. It is reached by a fatiguing, sandy path. The ruins 
consist mainly of a massive donjon and two towers, now covered with 
ivy. The view from the top is very attractive. — The Church has 



412 Route 31. CERNAY-LA-VILLE. 

some fair mural paintings by M. de Coubertin. Opposite the S. portal 
is an ogival Romanesque doorway of the ancient Priory of St. Saturnin. 

The road from Ohevreuse to Dampierre (omn., see p. 41 i), though 
picturesque, is almost entirely destitute of shade. On the right rise 
wooded hills, and on the heights to the left is the modern Chateau 
de Bevillers. The Chdteau de Mauviere, near the left side of the 
road farther on, dates from the 18th century. We skirt the long 
wall concealing the Chateau de Becquencourt on the left, and, beyond 
a mill on the Yvette, reach the village of Dampierre. 

Dampierre [Hotel-Restaurant St. Pierre; omnibus, see p. 410), a 
village of 680 inhab., is noted for its magnificent *Chdteau, belong- 
ing to the ducal family of Luynes. The neighbouring Church con- 
tains the burial vault of the Dues de Luynes, in a closed chapel to 
the left of the choir, and an elegant 15th cent, staircase in carved 
wood (restored), to the right of the organ. 

Founded in 1550 by Card, de Lorraine, the Chateau was acquired in 
1664 by Charles Honore d 1 Albert de Luynes, who caused it to be rebuilt 
by J. Hardouin-Mansart. Duke Honore de Luynes (1802-67) had it restored 
after 1844 by Duban, and collected under its roof a large number of works 
of art (comp. also p. 206). Admission to the chateau is usually granted on 
Fridays, from 1 to 5 o'clock, on written application to the Duchesse de 
Luynes. Among the art-treasures retained in the chateau are an ivory, 
gold, and silver statue of Athena by Simart (a quarter- size conjectural 
reproduction of the colossal chryselephantine statue of Athena in the 
Parthenon), the celebrated Sleeping Penelope by Cavelier, and a silver 
statue of Louis XIII by Rude. 

The route to Les Vaux-de-Cernay, passing to the left of the church of 
Chevreuse and to the right of Senlisse and its chateau, ascends the valley 
of the streamlet of Les Vaux to the S. We pass the hamlet of Games, 
and then the O/2 hr.) picturesque Moulin des Rockers, with a large fish- 
breeding establishment, whence the road leads to the left and follows the 
other side of the valley, not far from Cernay-la-Ville (see below). Walkers, 
however, follow the path to the right (finger-post). In 7 min. we reach 
the Petit-Moulin (rfmts.), near a little waterfall. On the opposite bank 
is the Hdtel des Cascades or Leopold, a favourite resort of artists, in 
the lower part of Cernay-la-Ville (10 min. ; see below). An omnibus starts 
here for Boullay-les-Troux (p. 411). The footpath on the left bank in 
6 min. more reaches the Grand-Moulin, at the lower end of the long Etang 
de Cernay. In the vicinity is a Monument to Pelouse (d. 1892), a landscape- 
painter who drew attention to the beauties of this valley. We may proceed 
straight on through the woods for 25 min. to the picturesquely-situated 
hamlet of Les Vaux-de- Cernay, on the Etang des Vaux, possessing a chateau 
and a ruined abbey. The latter was founded in 1128 and belongs to the 
heirs of Baroness Nathaniel de Rothschild, who restored it in excellent 
taste (no adm. to the house or the park). We skirt the abbey-wall until 
we reach the end of the pond, where we turn to the left. A little farther 
on we come to an iron gate overgrown with ivy, through which we per- 
ceive, in front of the fortified entrance, the old rained "Portal of the church 
with its three rose-windows, dating from the end of the 12th century. 

To the E. of the Grand-Moulin (see above, V2 M.) is Cernay-la-Ville 
(Hdtel de la Poste, in the Grand' Place, with a collection of pictures, cari- 
catures, etc., R. 3, dej. 272, D. 3 fr. ; des Cascades, lower down; de PAvenir), 
a village with 741 inhab., much frequented by artists and others. 

Omnibus to Boullay-les-Troux, see p. 410. Carriages may be hired for 
Chevreuse, Limours, Les Essarts-le-Roi, etc. 

Visitors with two days to spare should sleep at Cernay-la-Ville, and 
go on the next day by diligence (IV2 fr.) to Rambouillet (7 M.). 



413 



32. From Paris to Montlhery. 

A. By the Tramway d'Arpajon (steam tramway, TO bis, comp. Appx., 
p. 38), in 1 hr. 50min.; fares ifr. 75, 1 fr. 10 C; to Arpajon, 2fr. 25, 
I fr. 40 c. This tramway starts opposite No. 13 Rue de Medicis, near the 
Luxembourg Garden , every 2 or 2V2 hrs. The above prices do not in- 
clude the fares within Paris, which are collected separately intbe cars, 
the Arpajon line from outside the fortifications belonging to another com- 
pany. — The electric tramway running parallel to ours does not go beyond 
Antony (see below). 

The Tramway d'Arpajon proper begins at the Porte d' Orleans 
(PI. G, 18) and follows in the main the Orleans road. The halts in- 
dicated below are those of the electric tramway. We pass Le Orand- 
Montrouge, an uninteresting manufacturing village (three stations), 
Arcueil, and La Croix-d" Arcueil, to the W. (p. 409). To the right is 
the Fort de Montrouge, beyond which is the extensive Cemetery 
of Bagneux. Fine view, to the right, of Bagneux and Fontenay-aux- 
Roses ; to the left, the double aqueduct of Arcueil (p. 409). — La 
Orange d J Ory. — 2 M. Bagneux, at which the steam-tramway halts ; 
the village (p. 408) lies about 3 /4M. to the W. The line descends 
rapidly to La Fa'iencerie, a station just outside Bourg-la-Reine. 

3 M. Bourg-la-Reine (p. 409), station in the Place Condorcet. — 
In the upper part of the town, not far from the Lycee Lakanal (to 
the right) is the station of Petit- Chambord (Sceaux; p. 409). — 
4^2 M. La Croix-de-Berny. About l^M. to the E. is Fresnes-lls- 
Bungis, with large prisons. — Farther on is Antony (p. 410), where 
the tramway has a stopping-place before reaching the (5 M.) princi- 
pal station. The Pont-d J Antony , beyond the Bievre, is a third station. 

The steam-tramway continues to ascend the Orleans road to Le 
Petit-Massy, a station l 1 ^ M. to the left of Massy (p. 411). Fine, 
view of the valley of the Bievre. — 7 M. Wissous, on the Grande- 
Ceinture line from Noisy-le-Sec to Versailles. The tower of Mont- 
lhery is seen in the far distance on the right, and shortly after re- 
appears on the left. Beyond Morang is, with its old chateau, the line 
descends towards the valley of the Yvette. fNear Chilly - Mazarin 
formerly stood a chateau of the Due de Mazarin (d. 1713), nephew 
of the famous cardinal. Chilly- Grande- Ceinture. "We descend a steep 
incline. 

IOY2M. Longjumeau {Hotel St. Pierre, Grande-Rue; du Cadran, 
near the tramway-station), an old town with 2343 inhab., in the 
valley of the Yvette, noted for the peace concluded in 1568 between 
the Roman Catholics and the Protestants (the 'Paix Fourree' or 
'Petite Paix'). In the Place de la Mairie, reached by the Grande-Rue, 
rises a monument, by P. Fournier, to Ad. Adam (1803-56), composer 
of the opera 'The Postilion of Longjumeau'. Farther on is the Church 
(13-14th cent). The Chateau d"Engeval is modern. 

12 M. Saulx-les-Chartreux lies to the E. of the wooded hills 
beyond which is Palaiseau (about 2M.; p. 411). To the S. rises 
the Chateau de Mont-Huchet. At the station of Ballainvilliers the 



414 Route 32. MONTLHERY. Environs 

tramway returns to the Orleans road. — l-i^M. La Qrange-aux- 
Cercles; 15 M. La Ville-du-Bois. The station of Longpont is nearly 
IV4M. to the "W. of the village of Longpont, the church of which, 
dating from the 13th cent, but largely reconstructed, belonged to 
a Oluniac priory founded about 1000 A. D. The Chateau deLormoy 
(rebuilt in the 19th cent.), to the right of the church, also belonged 
to the priors. 

154/2 M. Montlhery [Hotel du Chapeau- Rouge, Rue de la Cha- 
pelle; Soleil-d'Or, Rue des Juifs; Maillet-d'Or, at the station; Cafes 
near the ruins), an ancient town of 2448 inhab., is situated on the 
slope of a hill crowned by the picturesque ruined *Castle of Montlhery. 
This stronghold was founded early in the 11th cent, by a Montmo- 
rency under Philip I. and was afterwards held by Hugues de Cre'cy 
and his band of robbers. It subsequently became crown-property 
and was restored in the 13-14th centuries. It is reached from the 
station in 20 min. by ascending the Rue Luisant, on the left, to the 
Place du Marche, and following thence the Rue des Juifs, turning 
to the right by the Grande-Rue, which passes the Parish Church 
(partly of the 13th cent.). In a narrow street to the left of the 
church is the doorway of the Hotel-Dieu founded by Louis VII 
(1149). Beyond the small Place behind the church, in the Rue de la 
Poterne, a path to the right leads to the ruins (375 ft.). The Keep, 
105 ft. high, is in four stories; a staircase in the small tower ascends 
to the top (apply to the guardian; 10-20 c). At the foot of the stair- 
case, protected by a grating, are some tombstones from aGallo-Roman 
cemetery discovered near by. Picturesque fragments of the other 
towers still remain, one 33 ft. in height, and there are traces of the 
fortified wall. Three massive terraces descended towards the town, 
which was itself surrounded by ramparts. — On our way back to the 
church, the Rue Gauche-Lauree on the left, continued by the Grande- 
Rue-de-la-Chapelle, leads to the Porte Baudry, built originally in 
1015, reconstructed in 1589, and restored in 1803. 

The railway-station of St. Michel- sur- Org e (p. 416; omn. 30 c) lies to 
the E. of Montlhery, the side farthest from the tramway-route. A branch- 
tramway runs hence to (2 M.) Marcoussis, a large village with a church 
of the 15th cent, (the chapel of a former Celestine monastery), a chateau, 
and sandstone-quarries. 

The main Tkamwat goes on via Unas (which possesses an interesting 
13th cent, church), Leuville, and St. Germain-la-Norville. to (19V4 M.) Arpajon 
(Lion-d'Argent, Fontaine, Grande-Rue), a town of 2904 inhab. on the Orge, 
with a Church (12th and 15th cent.), of which the belfry, the sepulchral 
monuments, and the choir should be noticed. In the Place du Marche, 
to the left as we return by the Grande-Rue, are some ancient timber con- 
structions. — Omnibus to Boissy-sotis-St-Yon (50 c). 



B. Railway to St. Michel-sur-Orge. From the Gare du Quai-d'Orsay, 
18 M., in 3/4-1 hr. 5 min. (fares 3 fr. 60, 2 fr. 40, 1 fr. 60 c, return-tickets 
5 fr. 40, 3 fr. 85, 2 fr. 50 c). — Omnibus from St. Michel to Montlhery, 
see p. 416. 

The Team way from the Chatelel (Square St. Jacques) to Choisy (TSG)^ 
in 1 hr 20 min. (fares 50, 30 c), starts every 40 minutes. The route is via 
Villejoif (pop. 5835) and Vitry (p. 415);_see^Appx.,;p. 41. 



of Paris. JUVISY. 32. Route. 415 

Steamboats ply from the Quai du Louvre to Ablon (see below) on Sun. 
and holidays in summer in l 3 /4 hr. ; fare 40 c. Stations to Alfortville (where 
we change steamers), see p. 254. Then Choisy-le-Roi and Villeneuve- St-Georges 
(p. 418). The journey is uninteresting. 

Oare du Quai-d' Austerlitz, seep. 32. Beyond (l 3 /4 M.) Orleans- 
Celnture we pass beneath the Ligne de Ceinture. — 5 M. Le Che- 
valeret, also the station for Ivry (on the right), a manufacturing suburb 
with 28,585 inhab., a large Hospital for Incurables, and a river-side 
port. It is dominated by the Fort of Ivry. Tramways, see Appx., 
pp. 41, 42, 43. — 51/2 M. Vitry (pop. 9894); the station is V 2 M. 
from the centre of the village, which is on the line of tramway. It 
possesses a church of the 13-14th centuries. The Moulin Saquet (to 
the W.) played an important part in the siege of Paris in 1870-71. 
We now approach the Seine. 

6V4 M. Choisy-le-Roi {Hotel des Voyageurs, at the end of the 
Rue du Pont; Restaurant Pompadour, on the right bank, near the 
bridge), a pleasant town with 11,607 inhab., known in connection 
with its chateau, which Mile, de Montpensier built in 1682, and which 
was subsequently acquired by Louis XV. It was completely destroyed 
at the Revolution. Near the bridge, before the station, on the left 
bank, is a bronze Statue of a Fighting Sailor, by Hercule, com- 
memorating the combats at the 'Gare aux Bceufs' in 1870. The 
Rue du Pont passes a little to the left of the former Buildings of the 
Chateau, now occupied by a porcelain manufactory. The Mairie and 
the Church, on the right of the street farther on, date from the 18th 
century. At the point where the street ends in the handsome Avenue 
de Paris is a bronze statue, by L. Steiner, of Rouget de Lisle, author 
of the 'Marseillaise', who died at Choisy in 1836. 

From the Avenue de Paris to Sceaux (p. 409), 5 J /4 M.; to La Croix-de- 
Berny (p. 413), 5 M. From the bridge to OrtUil (p. 417), 3M.; to Bonneuil 
(p. 418), 3V4 M. 

Beyond Choisy the railway passes under the Ligne de Grande- 
Ceinture. — 9^2 M. Ablon (pop. 1332), a village about l*/ 4 M. to 
the S.W. of Villeneuve-St-Georges (p. 418) by the left bank of the 
Seine. Steamboats to Paris, see above. — lO 1 ^ M. Athis-Mons 
(pop. 2612), near the confluence of the Orge and the Seine. The 
Chateau d'Athis was inhabited by St. Louis and Philippe le Bel. — To 
the left is the railway from Paris to Corbeil (p. 419). 

12y 2 M. Juvisy-sur-Orge [Httel Belle-Fontaine, at the station), 
a town with 3611 inhab., and a station used by both railways (comp. 
also p. 419). The park of the old Chateau was laid out by Le Notre, 
and now contains M. Camille Flammarion's observatory and climato- 
logical station (visitors admitted on application). 

Our line now ascends the pretty valley of the Orge, which is 
crossed by the Pont des Belles-Fontaines, consisting of two bridges 
one above the other, built in the 18th century. — 13^2 M. Savigny- 
sur-Orge has a fine 15th cent, chateau. — 15 M. Epinay-sur-Orge, 
preceded and followed by a viaduct. In the distance, to the right, is 



416 Route 33. NOGENT-SUR-MARNE. Environs 

the tower of Montlhe*ry (p. 414). — 16 M. Perray- Vaucluse is the 
station for the extensive lunatic asylum of Vaucluse, belonging to 
the city of Paris. The buildings rise in tiers on a hill to the right. 
— 18 M. St. Michel-sur-Orge. 

The railway goes on to Britigny, where it forks, the left branch running 
to Etampes, Orleans, Tours, etc., the right branch to Arpajon (p. 414; 
23 M. from Paris), Dourdan, Tours, etc. See Baedeker's Northern France. 

The road from St. Michel to Montlhe'ry (li/ 2 M. ; omn. in 20 min., 
30 c.) passes, on the right, the Chateau de Lormoy. Farther on a 
road diverges to the right for Longpont (2955 ft. ; p. 414), which is 
united with Montlhery by a cross-road. We may reach the ruined 
castle of Montlhery without entering the town, by a path to the left 
at the first houses. — Montlhery, see p. 414. 



33. From Paris to Verneuil-l'Etang. 

33V2 M. Chemin de Fer de Vincennes (PI. R, 25, V; p. 254), in ii/2-2 hrs. •, 
fares 4 fr. 10, 2 fr. 65 c, return-tickets 5 fr. 75, 3 fr. 95 c. — To Gham- 
pigny, 3 /t hr.; 1 fr. or 75 c, 1 fr. 75 or 1 fr. 20 c. 

From Paris to (3 3 /j M.) Vincennes, see p. 253. — 5 M. Fontenay- 
sous-Bois, with 9320 inhab., to the N.E. of the Bois de Vincennes 
(p. 256). 

5Y2 M. Nogent-sur-Marne (comp. the Map, p. 265). — Gafi- 
Restaurant du Moulin-Rouge, on the Marne, near the viaduct: Taverne Nogen- 
taise, Grande-Rue 162; Gafi de la Mairie, Grande - Rue 161 ; others near 
the station. 

Electkic Tramways (Chemins de Fer Nogentais), see Appx., p. 44. 

Nogent-sur-Marne, a place with 10,586 inhab., is situated on a 
hill above the Marne, dotted with country- villas in the direction of 
Vincennes. Both the Belfort railway and the Grande Oeinture (with 
a joint station at Le Perreux) cross the Marne by a curved viaduct, 
904 yds. in length, known as the 'Pont de Mulhouse'. The river below 
the viaduct is spanned by a Bridge connecting Nogent and Cham- 
pigny (p. 417). Le Perreux has annual fetes on the last Sun. in 
June and the first Sua. in July. In front of the church stands a Mon- 
ument of Watteau, who died at Nogent in 1721. To the S., in the 
Marne, lies the lie de Beaute, where ChaTles VII is said to have 
erected, a chateau, which he presented to Agnes Sorel with the title 
of 'Dame de Beaute''. The Jardin Colonial, a large school of agricul- 
ture, is in the Avenue de la Belle-Gabrielle. On the N., towards 
Fontenay-sous-Bois (see above), rises the Fort of Nogent. 

To the S. of the He de Beaate (see above), nearly 1 / 2 M. from the 
station of Nogent-le-Perreux (see above), is the new race-course of Trem- 
olay, opened in 1906. 

Bry-sur-Mame (see Appx., p. 44) is a village of 2125 inhab. on the 
left bank of the Marne. Engagements were fought there on Nov. 30th and 
Dec. 2nd, 1870. There are a bust of Daguerre (d. at Bry in 1851), one of 
the inventors of photography, and another of Sergeant Hoff (p. 244), the 
latter surmounting a lofty column adorned with a head of Bellona, by 
Magrou (1903). 

Another tramway runs to the N. (1 M.) Neuilly-Plaisance and (2 M.) 



of Paris. CHAMPIGNY. 33. Route. 417 

Eosmj-sous-Bois (pop. 4329) on the Chemin de Fer de PEst (Ligne de Nogent). 
The latter is also connected with Paris by the Villemomble tramway (see 
Appx., p. 44). — To the N. of Neuilly-Plaisance lies the Plateau tfAvron 
(375 ft. 5 view), which played a part during the siege of Paris in 18(0. 
Beyond are Villemomble and Le Raincy, two neighbouring localities on 
the line to Nancy (8 M. from the Gare de PEst), both traversed by tramways 
(see Appx., pp. 44, 42). Le Raincy is a modern town of 7129 inhab., with 
numerous villas built in the former park of the chateau, which belonged 
to the Orleans family. To the S. of Neailly-Plaisance is Neuilly-sur- Marne 
(9 x /2 M. from Paris), a village with 3113 inhab. and a Altering -station of 
the Compagnie des Eaux, on the Chemin de Fer Nogentais from Vincennes 
to Ville-Evrard (see Appx., p. 44). 

7 M. Joinville-le-Pont [Cafes-Restaurants de la Tite-Noire, a la 
Source, both on the quay) is a village of 6016 inhab. on the right 
bank of the Marne, the chief boating-centre on the river, and a 
favourite summer-resort. The partially subterranean Canal de St. 
Maur, nearly 3 /4 M. in length, which cuts off a large bend in the 
Marne (see below) and is therefore of great importance to navigation, 
begins here; it was constructed in 1809-25. Joinville possesses a 
national farm ('La Faisanderie'), the Villa Palissy, etc. The stands 
on the Vincennes racecourse are 6 min. from the station. 

Tramways run hence to St. Maur-les-Fosse's (IV4 M.), Charenton, and 
Champigny (IV2 M.), and from St. Maur to the Porte de Vincennes (Me'tro- 
politain).? 

8 M. St. Maur-les-Fosses (Cafes at the Gare du Pare and the Gare de 
Champigny), a town of 23,035 inhab., spreads, with its dependencies 
(Le Pare, La Pie, LaVarenne, St. Hilaire, and Ohampignol), over the 
bend which the river makes between it and Joinville. St. Maur was 
the seat of a Benedictine abbey founded in 638, which possessed 
relics of the saint who gave his name to the town. The treaty which 
put an end to the 'Guerre du Bien Public' was concluded here in 
1465. A pilgrimage to Notre-Dame des Miracles takes place on the 
2nd Sun. in July. St. Maur is also the station for Creteil, an old place 
with 4923 inhab., a short distance away. 

Tramways (Appx., pp. 45, 42, 38). From Charenton to La Varenne and 
St. Hilaire via St. Maur; from the Pont de la Concorde to Bonneuil via 
Creteil; from the Louvre to Creteil via Charenton (TK; comp. also p. 251). 
See also above. 

Notre-Dame des Meches and the Chateau du Buisson are on the 
Creteil road. — 8V2 M - Parc-de-St-Maur. 

10 M. Champigny (Cafes-Restaurants near the bridge) is a village 
(6655 inhab.) on the left bank of the Marne, here steep and prettily 
wooded. The station is at Champignol, on the Tight bank. The Chemin 
de Per de Grande-Ceinture, which joins the Ligne de l'Est via Nogent- 
sur-Marne, has another station at Le Plant- de- Champigny, on the left 
bank, near the road leading to the new bridge of Nogent-sur-Marne 
(p. 416), and on the line of the Chemins de Per Nogentais. A tram- 
way also connects Champigny with the Porte de Vincennes (Metro- 
politain ; see Appx., p. 29). 

Champigny is memorable as the scene of the battles of 30th Nov. and 
2nd Dec, 1870, at which Generals Trochu and Ducrot vainly endeavoured 
to force a passage through the German lines. A monument on the hill 

Baedekeb. Paris. 16tb Edit. 27 



418 Route 31. VILLENEUVE-ST-GEORGES. Environs 

behind Champigny, l /i hr. from the Mair : e, marks the site of the crypt 
containing the remains of the French and German soldiers who fell on 
that occasion. The crypt is open free daily from noon till 5 p.m. 

Fine views of the valley of the Marne, Vincennes, and Paris are 
obtained beyond Champigny. — 10 Y2 M. La Varenne-Chennevieres, 
beyond which we cross the Marne. — 12Y2 M. Sucy-Bonneuil, stat. 
for Sucy-en-Brle. From Sucy-Bonneuil a branch-line leads to Va- 
lenton (2YaM. ; p. 411) and Villeneuve-St- Georges (2 St.; see below). 
About 1 M. to the W. is Bonneuil-sur- Marne, whence a tramway runs 
to the Pont de la Concorde (see p. 417). — I0Y2 M. Boissy-St-Leger. 
To the left of the railway is the Chateau du Piple, with a Protestant 
normal school for girls. — 15 M. Limeil. Beyond, on the left, are 
the Chateau de Gros-Bois, and, on the right, the Chateau de la Grange, 
of the 17th century. — il^M. Villecresnes. — 1972 M. Mandres. 

— 20 Y2 M. Santeny-Servon. 

22 Y2 M. Brie-Comte-Robert (Hotel de la Grace-de-Dieu, Rue de 
Paris), a very old and decayed little town (pop. 2718), formerly capital 
of the Brie Francaise, was founded in the 12th cent, by Comte Robert, 
brother of Louis VII. It carries on a thriving trade in cheese ('fromages 
de Brie'). The Church of St. Etlenne is a handsome building of the 
12-16th centuries. In the adjoining Rue des Halles is an interesting 
Gothic Facade of the 13th cent., belonging to an old hospital. Farther 
on are the ruins of a chateau of the Counts of Brie. 

25Y2M. Grisny-Suisnes. — 21 y 2^- Coubert-Soignolles. — 3IY2M. 
YeUes-Guignes. — 3372^1. Verneuil-l'Etang, where the railway joins 
the line to Troyes and Belfort. See Baedeker s Northern France. 

34. From Paris to Fontainebleau. 

36 1 /.; M. Chemin de Fee de Lyon (p. 182). The jonrney occupies 1-2 hrs. 
(fares 6 fr. 60, 4 fr. 45, 2 fr. 90 c. 5 return-tickets 9 fr. 90, 7 fr. 15, 4 fr. 65 c). 

— Those who visit Fontainebleau should devote a whole day to the ex- 
cursion, leaving Paris by an early train. Best views to the left. 

IY4M. Bercy - Ceinture (see Appx., p. 46). — Beyond (3 M.) 
Charenton (p. 258) we cross the Marne, near its confluence with 
the Seine. To the left is the Asylum of St. Maurice (p. 258). On 
the left bank of the Marne lies Alfoitville (p. 258). — A 1 fa M. 
Maisons-Alfort, a place with 10,547 inhab., well known for its 
veterinary college, founded in 17G6 by Bourgelat. The Chateau de 
Cliarentonneau and the Villa Lesieur are also noteworthy. Farther 
on we cross the Ligne de Grande-Ceinture. 

9 J /2 M. Villeneuve-St-Georges (Cafes at the station), with 8178 
inhab. and a suspension-bridge over the Seine (to the right of the 
line; to Ablon, see p. 415), is picturesquely situated on the slope 
of a hill to the left, at the confluence of the Yeres and the Seine. 
The ancient Chateau de Beauregard, where the Comtesse de llanska, 
widow of Balzac the novelist, resided, has been acquired by the 
municipality. The Lyons railway has large works here. Villeneuve 



of Paris. MELIUS'. 34. Route. 419 

is also a station on the Ligne de Grande-Ceinture. A monument 
(1900), by A. Lenoir, in the Square de la Mairie, commemorates 
Victor Duruy (1811-94), statesman and historian. Steamboat to 
Paris, see p. 415. 

From Villenecve-St-Georges to Meldn via Corbeil, 261/2 M., railway 
in about i}fc hr. (fares 4 fr. 95, 3 fr. 35, 2 fr. 15 c). — Beyond (18/ 4 M.) 
Draveil-Vigneux the line crosses the Seine. — 4 J /2 M. Juvisy (p. 415). — 7 M. 
Ris-Orangis. — 9'/2 M. Evry-Petit-Bourg. 

11 M. Corbeil {Hdtel de la Belle- Image, to the left, before the mills; 
Bellevue, on the right bank, by the bridge), with 9632 inhab., is situated 
at the confluence of the Seine and the Essonne. It owes its origin to a 
stronghold built in the 11th cent, to repel the incursions of the Normans, 
and became the capital of a county which Louis le Gros annexed to the 
crown. St. Louis signed a treaty here with Jaime I. of Aragon (125S). The 
Moulins de Corbeil are perhaps the largest flour-mills in France. A little 
beyond them are the Hdtel de Ville and the marble Oalignani Monument, 
by Chapu, commemorating the well-known Paris publishers (d. 1873 and 
1882), who were substantial benefactors of Corbeil. The Rue St. Spire 
leads to the church of St. Spire, founded by Havmon I., Count of Corbeil 
(d. 957), and reconstructed in the 12th century. In the first chapel to the 
right are the tombs of Haymon and of Jacques de Bourgoin of Corbeil 
(d. 1661). To the N.W. of Corbeil are the Etablissements Decauville, iron-works 
employing 950 hands, whose speciality is narrow-gauge railways, and to the 
S.W. the village of Essonnes, with a large paper-mill (3000 workmen). — 
From Corbeil to Montargis, see Baedeker's Northern France. 

Beyond (13 M.) Village" the Melun line threads a tunnel and crosses 
the Essonne. — 15Vz M. Goudray-Montceaux ; 18 M. St. Fargeau- Seine- Port. 
Seine-Port is on the right bank. — 2OV2 M. Ponthievry-Pringy , with a 
bridge over the Seine. — Beyond (23 l /2 M.) Vosves we skirt the park of 
the Chateau de Belombre. 

26'/2 M. Melun, see below. — The line crosses the Seine and proceeds 
along the right bank to (22 x /2 M.) Montereau. Beyond Champagne, the 6th 
station on this extension, we see the Forest of Fontainebleau (p. 425) on 
the left bank, while (IOV2 M.) Vulaines, the 5th station, is only l 1 /* M. 
from the Tour Denecourt (p. 426). 

Beyond Villeneuve- St- Georges we ascend the beautiful green 
dale of the Yeres, a small but deep river, which is crossed before 
and after (11 M.) Montgeron. — I31/2M. Brunoy. The train now 
traverses a long viaduct, commanding a beautiful view. — 16 M. 
Combs -la- Ville. — 19^2 M. Lieusaint. — 2372 M. Cesson. — Near 
Melun the Seine is again reached and crossed. On the right is tbe 
line to Corbeil (see above). 

28 M. Melun. — Hotel du Grand -Monaeque, Rue du Miroir, R. 3-4, 
B. 1, dej. 3, D. 3 fr. ; du Commerce, Rue Carnot, both near St. Aspais. — 
An Electric Tramway traverses the town. 

Melun (230 ft.), the capital of the department of Seine-et-Marne, 
is an ancient town with 13,059 inhab., picturesquely situated on an 
eminence above the Seine, and carrying on a brisk trade in grain, 
poultry, and Brie cheese. Near the station is a large brewery. 

Melun is the Mecletodunum or Melodunum mentioned by Caesar as having 
been captured by his lieutenant Labienus in 53 B.C. The Normans also 
laid it waste ; and after it had become a royal residence under the early 
Capetians it was again several times captured: by Charles the Bad of Navarre 
in 1358; by Du Guesclin in 1359; by the English in 1420, after an obstinate 
resistance by the inhabitants, who succeeded in expelling the invaders ten 
years later; and by Henri IV in 1590. 

27* 



420 Route 3d. MELUN. Environs 

The Avenue Thiers, to the right of the station, leads to the old 
town across an island in the Seine on which lay the Gallic settlement. 
A monument to the victims of the war of 1870-71 was erected in 
1899 at the corner of the Avenue Thiers and the Boulevard St. Ain- 
broise. On the island rises the Church of Notre-Dame, a Romanesque 
structure of the ll-12th cent., afterwards remodelled, and restored 
in the 19th century. The transepts are surmounted by two Romanesque 
towers; the choir is Gothic. The interior contains some excellent 
old paintings : in the right aisle, Descent from the Cross, by Jor- 
daens, after Rubens ; Infant Moses, by Primaticcio; Ecce Homo, by 
Seb. Franck; also a good funeral monument (15th cent.). 

The principal street on the other side of the island skirts the 
back of the Church of St. Aspais (16th cent.), on the apse of which 
is % a modern medallion of Joan of Arc, by Chapu, erected to com- 
memorate the expulsion of the English in 1430. The exterior is 
richly decorated, while the interior deviates from the usual form in 
having double aisles terminating in apses. The choir has some line 
old stained glass and six handsome marble medallions of apostles 
and church-fathers, dating from the 17th century. The right aisle 
contains two ancient paintings , a Last Supper and the Hebrew 
Children in the Fiery Furnace ; in the left aisle is a large modern 
painting of Christ, by H. Schopin. 

In front of St. Aspais is a Savings Bank. The Rue du Miroir 
ascends thence to the upper part of the town, in which are situated 
the Belfry of St. Barthelemy, erected in the 18th cent., and the 
Prefecture. > — To the left, as we ascend, is the Boulevard Victor- 
Hugo, in which is a Monument to Pasteur (1822-1890), with a bust 
and group in bronze by A. d'Houdain, erected in honour of his dis- 
covery in this neighbourhood of the anti-toxin for anthrax. 

To the right, beyond St. Aspais, ia the Rue de l'H6tel-de-Ville, 
in which is the Hotel de Ville, a handsome Renaissance edifice, part 
of which is ancient, though it was not completed until 1848. In the 
interior is a small Museum, comprising local antiquities, paintings, 
and casts of the works of the sculptor Chapu (1833-91), who was 
born in the neighbourhood. The court is embellished with a marble 
Statue of Amyot (1513-93), a native of Melun, bishop of Auxerre, 
executed by Godin in 1860. — By the Rue de THotel-de-Ville we 
reach the Place St. Jean, with a modern fountain. 

The Chateau de Vaux-Praslin or Vaux-le-Vicomte, a gorgeous structure 
of the 17th cent., lying about 4 M. from Melun. together with its immense 
park, cost Nicolas Fouquet, 'surintendant des finances 1 under Louis XIV, 
the sum of 720,000 1. The interior may be inspected on application to the 
proprietor, M. Sommier, Rue de Ponthieu 57, Paris. 

Steam -tramways ply from Melun to (12 M.) Verneuil (p. 418), in 1 hr. 
(fares 1 fr. 45, 1 fr. 10 c), and to (7^2 M.) Barbison, at the entrance of the 
forest of Fontainebleau, near the Gorges d'Apremont (p. 427), in 3 /i hr. 
(fares 1 fr. 25 or 75 c). The latter line passes Dammarie-Us- Lys (pop. 1734) 
and Cliailly-en-Biere (pop. 1298). 

Beyond Melun we see on the left the Chateau de Vaux-le-Penil 




Grarre el mvpi-nne }>a 




"Wagner U De"bes. Leipzig 



Of Paris. FONTAINEBLEAU. 34. Route. 421 

(18th cent.), above the right bank of the Seine. Then a small tunnel, 
on emerging from which we find the Seine on our left. Fine retro- 
spect on this side. — 31 1/2 M. Bois-le-Roi. — We enter the forest 
of Fontainebleau. — SG 1 /^ M. Fontainebleau. 

Fontainebleau. 

The Station is about lVa M. from the palace (electric tramway 30 c. ; 
hotel-omnibus 50 c). Visitors who arrive before lunch-time should proceed 
direct from the station to the Tour Denecourt (p. 426), bearing to the left 
and crossing the lino, and 2 min. farther on again to the left; then straight 
on to the c carrefour' , whence the road to the right leads to the (IV2 M.) 
tower. The palace and garden may be visited next (1-1 V2 hr.), and a walk 
or drive taken to the Gorges de Franchard (p. 426; 2-3 hrs.) in the after- 
noon. It is well to order dinner beforehand. 

Hotels (prices should be previously ascertained). De i/Aigle-TSToir, 
Place Denecourt, to the N. opposite the palace, It. from 5, B. H/2. d6j. 4, 
D. 5, pens, from 12 fr. ; de France et d'Angleterre, Place du Chateau, 
at the corner of the Rue Koyale, variously judged, restaurant a la carte; 
de la Ville de Lyon et de Londke3, Rue Roy;>le 21, a few min. to the 
W. of the chateau; these three of the first class. — De Moret et d'Ar- 
magnac, Rue du Chateau 16, R. from 4, B. 1, dej. 3, D. 3ty2 (incl. wine), 
pens, from 10 fr. ; du Lion-d'Or, Place Denecourt 2j, R. from 3, B. I1/4, 
dej. 3, D. 3 l /2 , pens, from 8 fr. ; de la Chancellerie , Rue de Ja Chan- 
cellerie and Rue Grande 2, near the palace, R. from 21/2, B. 1, dej. 3, D. 
3'/2 (incl. wine), pens, from VJzft. ; du Cadran-Bleu, Rue Grande 9, R. 
from 3, B. 1, dej. 3, D. 3 J /2 (incl. wine), pens, from 9 fr. ; de Toulouse, 
Rue Grande 183, R. from 2y 2 , B. 3/ 4j d<i. 2i/ 2 , D. 3 (incl. wine), pens, 
from 8 fr. ; Launoy, Boul. de Magenta 37, well spoken of, R. from 3, B. 1, 
dej. 3Va, D. 4Vz (incl. wine), pens, from 8 fr. ; Hotel-Pension Victoria, 
Rue de France 112, pens. 8-12 fr. 

Restaurants. At the hotels; also, Ildt.- Restaurant de la Salamandre, 
Rue Grande 76, R. 3-6 fr. , restaurant a la carte (in the style of Duval). 

— Cafes. Naudin, Rue des Bons-Enfants 33; du Gadran Bleu^ see above 
(Munich beer); de VEdtel-de-Ville , Rue Grande 23. 

Cabs. Per drive in the town, 1 fr. ; to the station, 2 fr. (Vz fr. extra 
from a private address); from the station to any address in the town. 2 fr. 
Per hour: in the town 3 fr. ; in the forest, according to arrangement. 

— The offers of cabmen to drive the visitor to all the places of interest 
at an inclusive charge should be declined. 

Post and Telegraph Office, Place Denecourt and Rue de la Chancellerie. 

Hours of Admission to the Palace: daily from 10 to 5 o'clock in 
summer and from 11 to 4 in winter (Oct. -April), gratis. The custodian who 
shows the apartments (fee) is to be found at the entrance, or in the 
principal court, or in the offices to the left of the railing (PI. 3). The 
visit takes about an hour. 

Fontainebleau is a quiet place with broad, regularly laid out 
streets, and 14,160 inhabitants. It is now a fashionable and some- 
what expensive summer-resort. Its celebrated palace was one of 
the favourite royal residences. 

In the Rue Grande, leading from the station, is the Church, (PI. 1), 
bebind which is a bronze statue, by Godin (1881), of General 
Damesme, a native of Fontainebleau, who was killed at Paris in 
June, 1848; farther on are the modern Hotel de Ville (PI. 2) and 
a monument to President Carnot (1837-94), with a bronze bust and 
a statue of France, by Peynot. — The handsome monument to Rosa 
Bonheur (1901), in the Place Denecourt (PI. 3) in front of the palace, 



422 Route 34. FONTAINEBLEAU. Palace. 

consists of a "bronze "bull, designed "by the great artist herself, on a 
granite plinth adorned with her portrait and three of her pictures 
in relief. 

*Palace. The chateau or palaoe of Fontainebleau occupies the 
site of a fortified chateau founded by Louis YII (d. 1180). It waf 
"built for Francis I. "by the architects Gilles le Breton, Pierre Charribiges 
and Ph. Delorme, and, although of enormous extent, is less imposing 
in appearance than other chateaux of this period, as, except in some 
of the pavilions, there is only one story above the. groundfLoor. The 
interior decoration, however, is deservedly much admired ; it is in 
the style of Giulio Romano and was executed hy Italian and French 
artists (school of Fontainebleau). Henri IV (d. 1610) and his son 
Louis XIII (d. 1643) made considerable additions, but since that 
period it has undergone little alteration. It was a favourite resi- 
dence of Napoleon I., but after 1815 it was much neglected. Louis 
Philippe and Napoleon III. spent large sums in restoring it. — 
Curator, M. Georges d'Esparbes. 

Several historical associations attach to the Palace besides those which 
are referred to hereafter. Francis I. received Emp. Charles V. at Fontaine- 
bleau in 1539. la 1602 Henri IV caused his companion-in-arms Marshal 
Biron to be arrested here on a charge of high treason, and to be beheaded 
in the Bastille a month later. In the previous year the palace witnessed 
the birth of Louis XIII. Here, in 1685, Louis XIV signed the Revocation 
of the Edict of Nantes. The Grand Condi died here in 1686. and it was 
in this palace that the sentence of divorce was pronounced against the 
Empress Josephine in 1809. 

The Cour du Cheval-Blanc, by which we enter, derives its name 
from a cast of a statue of Marcus Aurelius (at Rome), which once 
stood in it. It is sometimes called the Cour des Adieux from having 
been the scene of Napoleon's parting from the grenadiers of his Old 
Guard on 20th April, 1814, after his abdication. Here, too, on 20th 
March, 1815, on his return from Elba, the emperor reviewed the 
same troops before marching with them to Paris. 

The central part of the palace is approached by the massive 
Eacalier du Fer-a-Cheval, so named from its horseshoe form, which 
was constructed by J. Lemercier in 1634. Below is the usual entrance 
for visitors. 

Interior. — The Chapelle de la Trinite, on the groundiloor 
to the left, has a line ceiling, painted by Freminet (1618-19; restored). 
The altar is by Bordogni (early 17th cent.), and the altar-piece (De- 
scent from the Cross) by J. Dubois; the statues by G. Pilon. Opposite 
the altar is the royal gallery. In this chapel Louis XV was married 
in 1725, and Ferdinand, Due d'Orle'ans (p. 224), in 1837, and Napo- 
leon III. was baptised here in 1810. — A broad staircase ascending 
thence leads to the first floor , where we usually begin with the — 

Appartements de Napoleon Premier, on the side of the garden 
next to the Orangery. These consist of an antechamber, with paint- 
ings above the doors by Boucher, and pictures of the period of J. L. 
David; secretary's room, with Napoleon's campaign writing-desk; 



Palace. FONTAINEBLEAU. 34. Route. 423 

bath-room, with mirrors adorned with paintings by Barlhelemy, 
brought from the apartments of Marie Antoinette at the Petit- 
Trianon; room in which Napoleon signed his abdication in favour 
of his son on 4th April, 1814, on the small round table in the centre; 
study, with a ceiling by J. B. Regnault, representing Law and 
Justice ; bedroom with a handsome chimneypiece of the time of 
Louis XYI, Napoleon's bed, and fine furniture and bronzes. 

To the left is the *Salle du Conseil, of the period of Louis XV, 
decorated by Boucher and Van Loo, and containing furniture covered 
with Beauvais tapestry. — Then the *Salle du Trone, with a 
handsome ceiling, containing a chandelier in rock crystal (time of 
Charles IX), wainscoting executed in the reigns of Louis XIII and 
Louis XIV, and a bust of Napoleon I. by Canova. 

We next enter the *Appartements de Marie Antoinette: her 
boudoir, with two fine ivory vases ; her bedroom, adorned with silk 
hangings presented by the city of Lyons and containing the cradle of 
the King of Rome (adorned with a figure of Victory) and a jewel- 
case of Marie Louise ; the music-room, with a small round table in 
Sevres porcelain; saloon of the ladies-in-waiting, with Louis XVI 
furniture and Beauvais tapestry. 

We now reach the Galerie de Diane, or de la Blbliotheque 
(30,000 vols.), a hall 94 yds. in length, constructed under Henri IV 
and restored by Napoleon I. and Louis XVIII. It is adorned with 
paintings representing mythological scenes, by Blondel and A. de 
Pujol, a portrait of Henri IV by Mauzaisse, etc. The central glass- 
case at the entrance contains a facsimile of the abdication of Na- 
poleon I. To the left of the entrance are Monaldeschi's sword and 
coat-of-mail. 

Under the Galerie de Diane is the old Qalerie des Cer/s , which is 
not shown to visitors. It was in this room in 1657 that Queen Christina 
of Sweden, while a guest at the French court after her abdication (1654), 
caused her unfortunate equerry and favourite Count Monaldeschi to be 
put to death after a pretended trial for treason. 

We are next conducted (usually through the Galerie de Diane) to 
the Salons de Reception, running parallel to Marie Antoinette's 
apartments, and overlooking the Cour Ovale (p. 425). The ante- 
chamber is embellished with Gobelins tapestry of the Louis XIV 
period, and the following apartment (Salon des Tapisseries) with 
very ancient tapestry from Flanders (myth of Psyche), etc. The 
chamber of Francis I., which contains a handsome chimneypiece, 
partly of the 16th century, has a coffered ceiling, and is also adorned 
with Flemish tapestry (royal hunting-parties). 

The beautiful Salon Louis Treize, in which Louis XHI was born, 
is decorated with paintings by Ambroise Dubois (d. at Fontainebleau 
In 1615) from the story of Theagenes and Charicles, and contains a 
mirror of Venetian glass, said to be the earliest mirror introduced 
into France, and an ivory jewel-case that belonged to Anne of Austria. 
■ — The Salle St. Louis contains fifteen pictures relating to the life of 



424 Route 34. F0NTA1NEBLEAU. Palace. 

Henri IY, and a marble relief, by Jacquet, of Henri IV on horse- 
back. — In the Salon des Jeux, or des Aides-de-camp, a Louis XI V 
clock and two chests in carved ebony of the 16-1 7th centuries. — 
The Salle des Gardes, the last of this series, contains a handsome 
chimneypiece, partly by 0. PUon, adorned with a bust of Henri IV 
and statues of Power and Peace, and a fine modern flooring. 

The Escalier du Roi, or grand staircase, occupying the site of a 
former bedroom, is adorned with paintings by Nic. delf Abbate, after 
Primaticcio, his master, and restored or entirely repainted by A. de 
Pujol. The subjects are from the life of Alexander. The Cour Ovale 
(p. 425) is well seen from the landing. — In the Passage and 
Antechamber are paintings by Boullongne (Venus and Cupids), and 
other artists. 

The Appartements de Madame de Maintenon are less interest- 
ing. In the salon is a fire-screen worked by the ladies of St. Cyr, a 
Boule table, and chairs covered in tapestry. — Thence a passage 
leads to the — 

*Galerie de Henri Deux, or Salle des Fetes (118 by 33 ft.), 
constructed by Francis I., and richly decorated by Henri II for Diane 
de Poitiers. The crescent and the monogram D H frequently recur in 
the ornamentation. The mythological frescoes after Primaticcio by 
his pupil Nic. delf Abbate have been restored by Alaux, and have 
thus lost much of their originality. At the end of the hall is a 
handsome chimneypiece. The windows afford a pleasant survey of 
the gardens. 

Retracing our steps to the Salon St. Louis, we turn to the left 
into the Galerie de Francois Premier, which runs parallel with 
the apartments of Napoleon I. on the side next the Cour de la Fon- 
taine (p. 425). The gallery is embellished with fourteen large com- 
positions by Rosso Rossi, representing allegorical and mythological 
scenes relating to the history and adventures of Francis I. The 
paintings are separated from each other by bas-reliefs, caryatides, 
trophies, and medallions. The salamander, being the king's heraldic 
emblem, and his initial infrequently recur. 

The Vestibule d'Honneur, between the Escalier du Fer-a- 
Cheval (p. 422) and the Galerie Francois Premier, possesses two 
handsome oaken doors of the time of Louis XIII and four modern 
doors in the same style. It contains also a jewel-casket in Sevres 
porcelain of the time of Louis Philippe and a statue, in onyx and 
silver, by Cordier. 

To the left are the Appartements des Reines Meres and of 
Pius VH. These were successively occupied by Catherine de Me- 
dicis (d. 1588), by Anne of Austria (d. 1666), mother of Louis XIV, 
and by Pope Pius VII. , who was a prisoner here from June, 1812, 
to Jan., 1814. We pass through an antechamber with chairs and 
hangings in Cordovan leather and a magnificent Louis XIII chest; 
over the fire-place, Bacchanal, by N. Halle. — The next room, which 



Gardens. FONTAINEBLEAU. 34. Route. 425 

was set apart for the officers of the household, is adorned with Gobe- 
lins tapestry (Story of Esther) of 1740 and has a commode by 
Gouthiere. — The Salon de Reception, also hung with Gobelins, and 
furnished with chairs upholstered in Beauvais tapestry, has a *Oeil- 
ing in the Louis XIII style. — The furniture in the bedroom of Anne 
of Austria (with similar hangings) is of the Empire period. — Beyond 
this are two small rooms, the first of which contains a portrait of 
Pius VII. after David, and the second two commodes in the style of 
Boule (one by Rienener). — Then, the pope's bedroom (the arrange- 
ment has been altered), and two saloons with Gobelins tapestry. — 
Traversing an antechamber we enter the Galerie dbs Fastes, con- 
taining a few ancient pictures, Gobelins tapestry, and portraits of 
Louis XV and Marie Lesczinska by C. Van Loo. 

Lastly we reach the Galerie des Assiettes, which is some- 
times shown to visitors first. It derives its name from the quaint 
style in which it was decorated by order of Louis Philippe with plates 
of porcelain bearing views of royal residences , etc. Frescoes by 
A. Dubois have been transferred hither from the Galerie de Diane. 

Visitors are sometimes shown the C'hapelle Haute de St. Saturnin, 
containing the tribune of Henri II and some ancient paintings restored 
in 1895, and the Chapelle Basse. 

On the groundfloor, to the right, in the main building is a Chinese 
Museum, open at the same hour3 as the palace. The entrance is in the 
Cour de la Fontaine (see below). The collection, which is valuable, was 
begun after the French expedition to China in I860. — Room 1. Periume- 
censers ; jardiniere in cloisonne enamel; lustre; copper dragons and pagoda; 
low-reliel's in jasper-, lacquer panels; elephants 1 tusks. In the glass- cases : 
crown of the king of Siam; handsome ewer, etc. — Room II. Wooden 
pagoda; valuable jewels, including a belt; gold knife, fork, and spoon 
presented by Louis XV to the Siamese ambassadors; jewel of the order 
of the elephant; mandarin's collar in jade, etc. — Room III. Palanquin; 
weapons and armour; flags, etc. 

Gardens. The principal entrance is by the Cour de la Fontaine, reached 
through the large door to the right of the Kscalier du Fer-a-Cheval. This 
court) ard is flanked on three sides l>y buildings (on the N. the Galerie 
Fr mcois Premier, p. 424), and on the S. by a poiid filled with carp, who.se 
greed is proverbial. 

On the right lies the Jardin Anglais, laid out under Napoleon I. 

On the left, beyond the pond, rises the Porte Dorie. It is adorned with 
frescoes after Primaticcio (restored by Picoi). This forms one of the en- 
trances to the Cour Ovale, or du Donjon (not open to the public), which is 
interesting on account of its fine colonnades of the early French Renais- 
sance. — The Parterre, another garden beyond the pond, was designed for 
Louis XIV by Lc Notre and contains ornamental ponds and sculpture. — 
The Cour Henri Quatre, to the N., is now occupied by the Ecole d" Application 
de VArtillerie et du Ginie. Farther on, to the E., is the Canal (1312 yds. long), 
formed by order of Henri IV. — To the N.E. of the Parterre is the Park, 
with a Labyrinth at the end and the King's Vine, on the left wall, which 
adds its quota to the crop of grapes ('chasselas deFontainebleau), amounting 
to about 29,000 bunches annually, for which the place is famous. 



The *Forest of Fontainebleau, which is about 50 M. in circum- 
ference and covers an area of 41,500 acres, is justly regarded as the 



426 Route 3d. FONTAINEBLEAU. Forest. 

most beautiful in France. On the N.E. side it is bounded by the 
sinuosities of the Seine. The ground here is of a very varied 
character, the rock formation consisting chiefly of sandstone, which 
yields most of the paving-stones of Paris. The magnificent timber 
and picturesque gorges of the forest afford numerous pleasant walks, 
and attract many artists (see p. 427). The forest was seriously damaged 
by a fire in Aug. 1904. 

All points where paths cross each other are provided with finger-posts. 
Blue and red marks placed on trees and rocks indicate the way to the 
most picturesque points. The small red rectangles, with the distances in- 
scribed below, point in the direction of the town. — Those who stray 
from the beaten paths should beware of adders. 

There are two fine points of view in the E. part of the forest, to 
the N. of Fontainebleau : the *Croix-du-Calvaire, about 1 M. above 
the town, which, seen thence, presents a most picturesque appearance, 
and the *Tour Denecourt, which commands a wide panorama but 
does not include the town itself. The tower is reached in 1 /2 nr « from 
the railway-station (p. 421) or in 3 / 4 hr. from the town. The route 
from the latter leads via the Rue Grande and the Melun road ; from 
the latter the Chemin du Calvaire diverges to the right, 6 or 7 min. 
from the town, almost opposite the chapel of Notre-Dame de Bonse- 
cours (left). — At the Carrefour de la Croix- d'Augas (i l / 2 M.) we 
follow the Chemin de Fontaine -le- Port to the right; about J /3 M. 
farther on a post indicates the way to the Tour Denecourt on the right. 
The tower, which is provided with a belvedere (rfmts.), bears a relief- 
medallion, in bronze, of Denecourt (d. 1875), who spent his fortune 
and much of his life in exploring and mapping-out the forest. The 
belvedere commands a picturesque view for nearly 40 miles round. 
The Eiffel Tower in Paris is seen in clear weather. — To the right 
of the Carrefour de la Croix-d'Augas (see above) is the Caverne 
d'Augas, with a bronze medallion, by E. Dubois (1906), of Paul 
Merwart (d. 1903), the draughtsman. 

Between the Melun road and the road from Paris (see p. 427) are 
the Nid de VAigle and the Qr-os-Fouteau, two of the finest groups of 
trees in the forest (IY2M. from the town). 

Visitors seldom extend their excursion beyond the Rochers et 
Gorges de Franchard, 3 M. from the town (carr., see p. 421). At the 
N.W. end of the Rue de France ( 3 / 4 M.) we follow the broad road 
diverging to the left from the highroad to Paris (which leads to the 
Gros-Fouteau and the Nid de l'Aigle, see above). Carriages turn to 
the left at the Route Ronde. Pedestrians quit the road after 35 min. 
by a bridle-path to the left (*Route de la Fosse-Rateau), which they 
follow for 6 min., then turn to the right by another path leading in 
5 min. more to the Restaurant de Franchard (inquire as to prices). 
The celebrated Rochers et Gorges de Franchard are a chaotic group 
of white sandstone rocks overgrown with trees and bushes (much 
injured by a fire in 1897), forming a basin (*/ 4 M. to the W. ; beyond 
the ruins of an old monastery) 2 1 /o-3 M. in circumference, and com- 



Forest FONTAINEBLEAU. 34. Route. 42? 

inanding a view of the whole gorge. Hurried visitors may engage one 
of the guides to he found here, taking care to make a distinct bargain 
(usually 1 ^2 fr-)- The visitor returns to the town by the same route. 

An excursion to the Rochers et Gorges d'Apremont, the principal 
seat of the fire of 1904, and the fine timber of the neighbouring 
Bas-Breau, to the N. of the Gorges de Francbard, is not less interest- 
ing than the above. It requires 4-5 hrs. from Fontainebleau and 
about 1 hr. less from the Gorges de Franchard. Between the Rochers 
d'Apremont and the Monts Girard, another chain of hills on the S., 
extends the Dormoir, a plain partly wooded and partly covered with 
rocks and heath, one of the most beautiful parts of the forest, and a 
favourite sporting -rendezvous. In the upper part of the Gorges 
d'Apremont is situated the Caverne des Brigands, where refreshments 
and souvenirs of tbe forest are sold (bargaining necessary). Farther 
to the N. is the highroad to Paris, already mentioned, which leads in 
the direction of Fontainebleau past the Hauteurs de la Solle to the 
carrefour of the Belle- Croix, near the Mare a Piat, and to the Gros 
Fouteau (p. 426), etc. 

Barbison or Barbizon {Hotel de la Foret, board 7 fr. per day, R. 4-15 fr. ; 
H6t. des Charmettes, R. from 3, B. 1, dej. 3, D. 3 l / 2 , pens, from 7 fr. ; Hdt. 
de V Exposition, dej. 2V2, D. 3, pens. 6-8 fr.5 Hot. de la Clef -ft Or, R. 2-4, 
dej. 2V2, D. 3, pens. 6-9 fr.) is about 3/ 4 M. to tbe W. of tbe Bas-Breau, 
and connected by tramway with Melun (p. 419; in 3 / 4 br.). It is a bappy 
bunting - ground for artists and bas inspired many canvasses, including 
tbose of Th. Rousseau and J. F. Millet, bat is now cbiefly interesting for 
tbe paintings by various artists whicb decorate tbe walls of tbe botels. 
On a rock on the edge of tbe forest is a medallion, by Chapu, in memory 
of Millet. 

Among the interesting points in the S. part of the forest may be 
mentioned the Rocher d'Avon, near the palace-park, between the 
road to Moret and that to Marlotte, and the Gorge aux Loups and the 
Long-Rocher, near the verge of the forest, in the direction of Mar- 
lotte and Bourron. 

The village of Marlotte (Hdtel Mallet, pens. 6-8 fr.), 3/ 4 M. farther on 
and 5 x /2 M. from Fontainebleau, is, like Barbison, a favourite resort of 
artists. Tbe nearest station is Montigny-sur-Loing, on tbe line to Montargis, 
3 /i M. to the E., whence we may return to Fontainebleau via Moret. — 
About 3 /4 M. to tbe W. of Marlotte, and also near tbe forest, is Bourron 
(Hot. de la Paix, pens. 6 fr.), suitable for a stay of some time, with a station 
at tbe junction of Ihe lines from Montargis and Malesberbes. — For Moret, 
also much frequented by artists, see Baedeker's Northern France. 



ROUTES FROM LONDON TO PARIS.* 

35. By Folkestone, Boulogne, and Amiens. 

2. r u M. Hy Em-kkss Trains (see advertisements in 'Pradshaw'), from 
Charing Cross, in I-S'/t hrs., average sea passage t 1 i 'J hrs. \ fares '21. 10s., 
U. lis. $d., ami LI. is, iW. ; rot urn ■ tickets valid for one month \l. Is. \0d., 
St. os., and 1/. 17* 5A Passengers with single tickets may hreak their 
journey at the principal stations, and spend seven days on the route. 
Registered luggage is not examined before arrival at Paris. 

Hy SUomboatfrom London to Boutogn* (.see 'Bradshaw'), BtnntU Steam- 
ship (fo., thrice weekly, in iMOhrs.' (6 hrs. river-passage); fare LOs., return 
17*. lOal.; GtoMrol Steam Wnvtyatfon tv. (66 Great Tower St.)] thrice weekly 

in summer iu 0-7 hrs. (from Tilbury), fare IQ»., return 14*. This route is 
pleasant iu favourable weather; but the trains from Boulogne to Paris 
(p. 431) do not correspond with tbo steamers, 

Boulogne -Slir-Mer. —Hotels. Near the baths: Hotkl DO Pavilion 
iMri-ui.vi. M DBS Bains DE Mkk (PI. a; D, I), R, from 0, it. 7 fr.; BRIGH- 
TON ST Mvkink (PI. b; P, 'J), P. from l'», D. 6 fr., both in the BOUl. Sainte- 
Heuve; ok Fo&KBSTOHH (PI, c; l>, 2), Pi.aow's Clock HOTEL, llor. dk Pakis 

(Pi. d; D, 2), all on the Quai Gambetta; H6tbi on Nom>, o'Kuuope, kt 
Continental (PI. f; 1>, 2), Hue de Boston 58; Pkuky (PI. e; 1), 2), same 
street 96. — In the town: ChBISXOL RT BRISTOL (PI. g s B, 3), near the 
station; Mkuku-k (PI. i; K, 3). Rue Victor - .Hugo 36; Mktkouolk (PI. 1; 
K, 3), Kue Faidherbe 27 ; DeRVAOX (PI. in ; P, 31, Grande Rue TO; DO COM- 
MERCE (PI, o; 1'., 3), Grande Rue 27; de France (PI. p; F, 3, 4), Rue Na- 
lionaleSO; de Imanoki: (PI. k; E,2), Cjuai Gambetta 52 ; nu Louvre (PI. n; 
1>, 3), Place de la Rcpublique, near the station; CaSTIGLIONE (PI. q; D, 3), 
opposite the Station-; U. at these 3-4 1 /* de.i. ;U, lb o 1 •: -4, pens. 7yt-15 fr. 
in the upper town: Hot. db Boorgoqnb (Pi. h; G, 2, 3), Rue de Lille 11, 
R. from o, D. 3 fr, — There are also numerous maisons nicitbUcs. pensions, 
and furnished apartments. 

Restaurants. Casino (de'j. 4, D. 6 fr.) ; also at most of the above-named 
hotels and at the railway-stations. 

Cafes. Grand Ca/e di Boulognt, Continental, Rue Adolphe -Thiers 37; 
tin PMntx, Rue Victor-Hugo 69; duiford, at the corner of Grande-Rue and 
Rue Victor-fiugO] others In the Rue Monsigny and elsewhere. 

Cabs. From Q a.m. to midnight, per drive I 1 ■_• fr., per hour 2 fr. ; from 
midnight to 6 a.m. 2 fr. and 2 1 a fr. ; outside the town, per hr. 'J 1 /-* fr. 

Electric Tramways from the Place Palton (PI, V. 3) to the Casino (PI. D, 1 ; 
15 e.1; to Ls Forte! (PI. 0, 5) via Chatillon and Capccure ; to Jfonl .V, , •/' 
d'Outreau (PI. B, 5; 10c); to St. JTarttn iH. G, '2; 20c); to JPniwrwa 
(PI. C, D, 1; 30 c); from tie Casino to Krcquerccque (PL G, 5; 25 oj 

Casino. Admission per day I fr., week 10, fortnight 17, month 29 fr. ; 
double tickets 19, 82, or 04 fr. Adm. to Theatre, 4 or 5 fr. See the gratuitous 
'Cuide Programme'. 

Baths/ S*a Baths l 1 /* fr., including machine and towels; subscription 
for 12 baths 9 fr.; at the Bcole de Natation (enclosed basins) 60c. and 
6 fr. 60 c; Hot Baths I fr. 

Post and Telegraph Offices, Rue du Pot-d'Etain 24 (PI. B, 3). 

British Vice-Consul, /,'. F. Fanner, Rue Correnson 2. — American 
Agent, William Whitman, Rue des F.coles 3*i. — Bankers, Adam .f- Co., 
Rue Victor-Hugo 6 (also Lloyd's agents); Hanque ds France, Kue Victor* 
Hugo 40. Merridetc's Library, Rue Victor- Hugo 60. 

English Churches in the Rue de la Lampe (Holy Trinity) and Kue des 
Yieillards (St. JohVs). — AVv Weslet/an Mtthodisi Church, 08 C.raude-Rue. 

Golf Links (2 l /*fi\ per day) at the racecourse o( Auhengues; omnibus 
e\ cry 10 minutes. 

f For farther details, set S Northern France 




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BOULOGNE-SUR-MER. 35. Route. 429 

Boulogne-sur-Mer , so called to distinguish it from Boulogne-sur- 
Seine near Paris, the Oessoriacum or Bononia of the Romans, is an 
important seaport and the largest town in the department of Pas- 
de-Calais, situated at the mouth of the Liane, with a population of 
49,945, of whom over 1000 are permanent English residents. Its 
numerous schools enjoy a high reputation. The town is divided into 
the Haute -Ville, or old town, on the height to the E., and the much 
laTger Basse -Ville, including the harbour. The part of the Basse- 
Ville on the left or W. hank of the Liane is known as Capecure. 

The Harbour, especially the E. part near the Douane (PI. D, 2), 
presents a very busy scene. Boulogne stands next to Marseilles, 
Havre, and Bordeaux among the seaports of France. Its commer- 
cial importance is increasing, and in 1879 extensive operations 
were begun with the view of enlarging the port, but their completion 
has been deferred owing to lack of funds. Vessels are now able to 
enter and clear at low water. The West Pier stretches into the sea 
for a distance of 765 yds. 

The Gate Maritime (PL D, 2), on the quay of the Folkestone 
steamers, is connected with the Grande Gare, or principal railway 
station (PL D, E, 4), by a short branch-line. On the right bank of 
the Liane, immediately beyond the Pont Marguet (PL E, 3), is a 
bronze statue, by Lafrance, of Frederic Sauvage (1786-1857), who 
is regarded by the French as the inventor of the screw-propeller. 
Thence the Quai Gambetta runs to the.N. to the Halle (PL E, 3) 
and the Douane (PL D, 2). Near the Halle is a statue of Edward 
Jenner, the discoverer of vaccination, by Eug. Paul (1858). 

The Fish Market is held early in the morning in the Halle. The 
fishermen and their families occupy a separate quarter, La Beurriere, on 
the W. side of the town , and form one-tenth of the population. They 
partly adhere to the picturesque costume of their ancestors, and differ 
somewhat in character and customs from the other inhabitants of the town. 

The Etablissement de Bains, with its Garden and handsome 
Casino (PL D, 1, 2), lies farther to the E. Adm., see p. 428. 
The garden is always open to visitors, but non-subscribers pay 20 c. 
for admission on concert-days. — Between the shadeless beach and 
the cliffs runs the Boulevard Sainte-Beuve (PL D, 1, 2), named in 
honour of the famous critic (1804-69), who was a native of Boulogne. 

The East Pier, or Jetee de VEst (PL B, C, 1, 2), which extends 
650 yds. into the sea, is a favourite evening-promenade. — On the 
cliff is the ruined Tour d'Odre ('Turris Ardens' ; PL D, 1), a Roman 
beacon-tower built under Caligula in 40 A. D. 

We now return to visit the town. The Bue Victor-Hugo (PL 
E, 3) and its continuation the Rue Nationale contain the principal 
shops. The Rue Adolphe- Thiers, parallel to the Rue Victor-Hugo, 
begins at the Place Dalton (PL F, 3), in which rises the church of 
St. Nicholas (17-18th cent.). This square is the chief tramway- 
centre (p. 428). The Grande-Rue ascends from this point to the 
Haute -Ville. 



430 Route 35. BOULOGNE-SUR-MER. From London 

The Museum (PI. F, 3), in the Grande-Rue, contains ethnograph- 
ical and natural history collections, some Egyptian antiquities, 
and a picture-gallery (open in summer daily, except Tues., 11-4; 
in winter on Sun., Wed., Thurs., and Sat.). The Public Library, 
on the second floor, contains 65,000 vols, and 240 MSS. (open 
daily, except Frid., 10-4). 

At the top of the Grande-Rue, on the left, is the Sous-Prefec- 
ture (PI. F, 3), in front of which is a colossal bust of Henri II, 
by David, commemorating the restoration of the town to France by 
the English in the reign of that monarch (1550). In the Boulevard 
Mariette, farther on (PI. G, 2), stands a bronze statue, by Jacque- 
mart, of Aug. Mariette, the eminent Egyptologist, who was a native 
of Boulogne (1821-81). A little to the N. is a public park known 
as Lea Tintelleries (PI. F, 2 ; concerts in summer). Close by is the 
Boulogne-Tintelleries Station (p. 436) on the railway to Calais. 

The Haute-Villb (PI. F, G, 2, 3), enclosed by ramparts (13th 
cent.), is entered by three gateways: the Porte des Dunes, the Porte 
de Calais , and the picturesque Porte Qayole. The Hotel de Ville 
(PI. G, 3) was erected in 1734 on the site of an ancient castle, in 
which the crusader Godfrey de Bouillon was born in 1065. 

The church of Notre-Dame (PI. G, 2), a building in the degraded 
Italian style, erected in 1827-66, occupies the site of a Gothic church 
which was destroyed in 1793. Handsome high -altar in mosaic 
work , and richly ornamented Lady Chapel. Curious crypt (adm. 
1 fr.). The lantern which surmounts the dome is crowned with a 
colossal statue of the Virgin , which forms the most conspicuous 
point in the whole town. Extensive *View, comprising the 'dunes', 
the plateau traversed by the railway to Calais , in the foreground 
Napoleon's Column, and in the distance, in clear weather, the white 
cliffs of the English coast. The entrance to the staircase is by a 
door to the right, at the S. portal (adm. 1 fr.). 

The Chateau (PI. G, 2), in which Louis Napoleon was confined 
after the attempted insurrection of 1840, is the ancient citadel of 
Boulogne, and dates from the 13th century. It is now converted 
into barracks (no admission). 

The Cemetery of the Haute -Ville (beyond PI. G, 2) contains the 
graves of Sir Harris Nicolas, Basil Montague, and numerous other 
Englishmen. 

In 1804 Napoleon I. assembled an army of 172,000 infantry and £000 
cavalry on the table-land to the N. of Boulogne , under the command of 
Marshals Soult, Ney, Davoust and Victor, and collected in the harbour 
a flotilla of 2413 craft of various dimensions, for the purpose of invad- 
ing England and establishing a republic there. The troops were ad- 
mirably drilled, and only awaited the arrival of the fleets from Antwerp, 
Brest, Cadiz, and the harbours of the Mediterranean, which had been in 
the course of formation for several yeats for this express purpose. Their 
union was prevented by the British fleet under Sir Robert Calder; and 
the victory of Nelson at Trafalgar, on 22nd Oct. , 1805 , completed the 
discomfiture of the undertaking. 



to Paris. ABBEYILLE. 35. Route. 431 

Napoleon's Column, or tlie Colonne de la Grande- Armde, of the Doric order, 
172 ft. in height, constructed by Marquise, situated 2 M. from Boulogne on 
the road to Calais (comp. PI. G, 1), was founded in 1804 to commemorate 
the expedition against England , the first stone being laid by Marshal 
Soult in the presence of the whole army. The first empire left the 
monument unfinished, and in 1821 Louis XVIII caused the work to be 
resumed, intending that the column should commemorate the restoration 
of the Bourbons ; but it was not completed till 1841 , when its original 
destination was revived. The summit is occupied by a statue of the 
emperor, one of BosWs finest works. The pedestal is adorned with 
reliefs in bronze, representing emblems of war. The view from the top 
resembles that commanded by the dome of Notre-Dame (custodian i/a fr.). 

Fbom Boulogne to Paris. 

159 M. Chemin de Fer du Nord. Express in 3-3 a /4, other trains in 
4</ 2 -7 3 / 4 hrs. (fares 28 fr. 45, 19 fr. 20, 12 fr. 50 c). 

Quitting the handsome station of Boulogne, the train traverses 
the valley of the Liane. At (l 1 /^ M.) Outreau the line from the 
GareCentrale joins that fromBoulogne-Tintelleries(p. 430). Several 
large cement-works are passed. 3M. Pont-de-Briques; 5^2 M. Hes- 
digneul (junction for St. OmerJ. — 17^2 M. Etaples (Hot. Joos; 
Vasseur) is the junction for Arras. 

From Etaples an electric tramway plies to (31/2 M.) Le Touquet or 
Paris-Plage Cfffdt. Chdteau du Touquet, R. & B. from 7, D. l l /-z fr. ; Grand- 
Ildlel, pens. 7-15 fr. •, H6t. des Bains, 6-12 fr. • des Dunes, 6-12 fr. ; Clarisse, 
6-8 fr.), a frequented sea-bathiDg and golfmg-resort at the mouth of the 
Ganche. 

The train crosses the Bale de la Canche hy a viaduct. 20 ^2 M. 
St. Josse; 32y 2 M. Rang du Fliers- Verton , the junction for the 
sea-hathing place of Berck; 28 M. Conchil-le- Temple; 34 M. Rue. 
Near (40^2 M.) Noyelles, in the midst of a dreary expanse of sand, 
the Somme was crossed hy Edward III. before the battle of Cre'cy 
in 1346. 

Branch-line to the right to (8V2 M.) Cayeux, via (4 M.) St. VaUry-sur- 
Somme (Casino-Grand-Hotel), whence William the Conqueror set out for 
England in 1066. Another branch-line runs to (5 M.) Le Croioy. 

49 M. Abbeville (Hot. de la Tete-de-Boeuf, good; de France; de 
la Oare) is a cloth-manufacturing town with 20,388 inhab., on the 
Somme, and connected with the sea by means of a canal. The prin- 
cipal building is the Gothic Church of St. Vulfran, founded in the 
15th century. The Flamboyant portal of the Church of St. Qilles 
is also interesting. The Musee Boucher-de- Perthes contains pre- 
historic antiquities, old furniture, china, and about 1600 paintings 
of the French, Flemish, and Dutch Schools, while the Musee d' Abbe- 
ville et du Ponthieu has objects of natural history, paintings, and 
antiquities. 

From Abbeville branch-lines run to (6872 M.) Bithune, via St. Riquier; 
to (19 M.) Dompierre-sur-Authie, via Cr&cy-en-Ponthieu ; and to (28 M.) Eu; 
see Baedeker's Northern France. 

The scenery becomes more picturesque as the train ascends the 
fertile valley of the Somme. — 54*/ 2 M. Pont-Remy. — From 
(591/2 M.) Longpre branch-lines diverge to Le Treport and Canaples. 
— 64 M. Hangest; 68y 2 M. Picquigny, with the ruins of a strong v 



432 Route 35. AMIENS. From London 

hold of the 16th cent; 71i/ 2 M. Ailly-sur-Somme ; 72 l / 2 M. Dreuil , 
75 1 / 2 M. St.Roch. — The train now threads two short tunnels. 

76 l / 2 M. Amiens. — Hotels. "'Hotel du Rhin (PI. b; G, 4), Gband 
IIothl dk l'Univkks (PI. a; G, 4), li o tli Rue Noyon and Place St. Denis, 
R. from 4, D. 4 fr. ; Hot. dk Fkanck et d'Anglktkkrk (PI. c; E, F, 4), 
Rue de la Republique 17, R. from 3, D. 4 fr. ; Ecu dk Fkanck (PI. f ; G, 4), 
Place St. Denis 51, R. from 3 fr., good; Gk.-Hut. Modkknk (PL g; G, 4), 
Esplanade de Noyon 4, near the Gare du Nord, R. from 3, D. 3V2 fr. ; dk 
Pabis (PI. d; G, 4), Rue de Noyon, D. 3 fr. ; du Commekck (PI. e; F, 4), 
Rue des Jacobins; de la Paix (PI. h; E, 4) ; dk Roukn (PI. i; E, 4), Rue 
Dumeril 15 and 42; Ckoix Blanche (PI. k; E, 4), Rue de Beauvais 44. 

Cafes. Dufonrmantelle, Rue des Trois-Cailloux 34, and otbers in the 
same street. Casino, Rue de la Republique. 

Cabs. For 1-2 pers., per drive 75 c, per hr. D/2 fr. ; 3-4 pers. 1 fr. 
and 2 fr. ; eacb V4 br. extra 50 c. — Tramways radiate in various direc- 
tions from the Place Gambetta (PI. E, 3, 4); fares according to distance, 
1st cl. 15. 20, or 25 c, 2nd cl. 10, 15, or 20 c. 

Post & Telegraph Office (PI. E, 3), Place de THotel-de-Ville. Telegraph 
OfGce also at the Gare du Nord, for travellers. 

British Vice-Consul, W, Sutcl\ffe. — American Agent, Charles Tassen court. 

Amiens , the ancient capital of Picardy, now that of the depart- 
ment of the Somme, with 90,758 inhab., and one of the principal 
manufacturing towns in France , is situated on the Somme and its 
affluents the Arve and the Selle. These streams form numerous 
canals in the lower part of the town, the industrial quarter. The 
principal manufactures are linen, woollen stuffs, silk thread, cash- 
meres, and velvet. The central part of the town is surrounded by 
handsome boulevards on the site of the former fortifications, of 
which the Citadel (PL E, 1) is the only relic. In 1802 the Peace 
of Amiens between France and England was concluded here. On 
20th Nov., 1870, the Prussians defeated the French near Amiens, 
and entered the town on the following day. 

The exit from the station is in the boulevards, opposite the Rue 
de Noyon, which we follow to the Place St. Denis (PI. F, G, 4), em- 
bellished with a bronze statue of Dufresne Du Cange, the eminent 
philologist (1610-88), by Caudron. The Rue Victor-Hugo leads 
hence to the right, passing the modern Palais de Justice, to the — 

*Cathedkal (PL F, 3), one of the most imposing Gothic churches 
in Europe, erected in 1220-1269 by the architects Robert de Lu- 
zarches, Thomas de Cormont, and his son Regnault. Length 470 ft, 
length of transept 213 ft., width of nave 144 ft. The heaviness 
of the building is insufficiently relieved by the lofty spire over the 
transept, 392 ft. in height, or 145 ft. above the roof, re-erected in 
1529. The two uncompleted towers of the W. facade belong to the 
13th and 15th cent., the former being 181 ft., the latter 210 ft. in 
height, but like the central spire they are too small for the edifice. 
The principal W. portal, one of the finest parts of the building, was 
completed towards the end of the 14th century. 

The *Facadk contains three lofty recessed porches, richly adorned 
with reliefs and statues. The '•Beau Dieu a" Amiens' is an admirable figure 
of the Saviour which separates the doors of the central portal. Above 
the portals are a handsome gallery, niches containing twenty -two col- 




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to Paris. AMIENS. 35. Route. 433 

ossal statues of kings of Judah, a magnificent rose-window 38 ft. in dia- 
meter, and still higher a gallery connecting the towers. 

The *Intesior consists of nave, transept, aisles, and choir, all flanked 
with chapels. The nave rises to the very unusual height of 147 ft., being 
surpassed in this respect by the cathedral of Beauvais alone. The 
vaulting is borne by 126 remarkably bold columns, tapering towards the 
top. The stained glass in the rose -windows , triforium, and choir is 
ancient. The organ-loft dates from 1425, but has been modernized. The 
bronze *Monuments of the two bishops who founded the church, one on 
each side of the nave, are fine works of the 13th century. The wall of 
the choir is adorned with ^Reliefs representing, on the N. side the history of 
John the Baptist, on the S. side the life of St. Firmin, sculptured in 1489 
and 1530. Behind the high-altar is the 'Enfant Pleureur\ a much admired, 
but overrated weeping angel, by Blasset. At the entrance to the choir 
are large marble statues of St. Vincent de Paul and San Carlo Borromeo. 
The transept contains some interesting reliefs, painted and gilded (beginning 
of the 16th cent.). 

The *Choir Stalls, 110 in number, are fine specimens of carving executed 
in 1508-22. There are no fewer tban 3650 figures. The subjects are mainly 
Scriptural, but also represent different worldly occupations. 

At the "back of the church rises a bronze statue of Peter the Her- 
mit (PI. F, 3), or Pierre of Amiens, the promoter of the first crusade. 

The Rue Robert-de-Luzarches leads to the S. from the cathedral 
to the Rue des Trois-Cailloux, with the best shops and the Theatre 
(PI. F, 4). From the Place Gambetta (PI. E, 3, 4), with a gilded 
clock-tower, at the W. end of the Rue des Trois-Cailloux, the Rue 
de la Republique runs to the S. to the boulevards; while the Rue 
Delambre leads to the N.W. to a square in which rise the Belfry 
(PI. E, 3), an eccentric edifice of 1748 (restored in 1865), and the 
Hotel de Ville (PI. E, 3), lately enlarged and almost entirely rebuilt. 

The *Musee de Picardie (PI. E, 4), in the Rue de la Republique, 
is open on Sun., Tues., & Thurs., 12 to 4 or 5 (at other times for a 
fee). The collections on the groundfioor include mediaeval carvings; 
Roman antiquities (tomb-reliefs, leaden coffins, bronzes, glass); a 
fine mosaic found at Amiens in 1857, with interesting arrangement 
of colours; fayence from Nevers and Beauvais; a few Greek antiqui- 
ties (statue of Diana ; mosaic of Apollo) ; and modern sculptures. In 
the Grande Salle Centrale and in nine rooms on the first floor is the 
picture gallery, comprising chiefly works by French masters of the 
19th cent, and a valuable collection of Flemish paintings. The 
staircase is adorned with mural paintings by Puvis de Chavannes. — 
In the same street is the Bibliotheque Communale (PI. E, 4). 

In a street running parallel with the Boul. du Mail, to the N., 
is a monument called the Illustrations Picardes (PI. F, 4), consisting 
of a figure of Picardy, surrounded with statues and busts of eminent 
natives of that province. — On the W. side of the town is the 
pleasant Promenade de la Hotoie (PI. A-C, 2, 3). The churches of 
St. Germain (PL E, 3) and St. Leu (PI. F, 2) are Gothic structures 
of the 15ih and 16th cent., with elegant towers. 

A branch-line connects Amiens with Rouen (in 2-4 hrs.). 

Beyond Amiens we cross the Arve. 79 ! /2 M. Longueau (buffet), 
junction of a line to Arras (Lille). Near (82 l /2 M.) Boves is a ruin- 

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434 Route 35. CLERMONT. From London 

ed chateau in which Henri IV often resided with the beautiful Gab- 
rielle d'Estrees. Fine view of the valley of the Noye. — 89 M. 
Ailly-sur-Noye. — 93^2 M. La Faioise. At the village of Folleville, 
l 3 / 4 M. to the S.E., are the ruins of a chateau, and a late-Gothic 
church containing a fine monument of Raoul de Lannoy (d. 1508), 
by Ant. della Porta. — From (99 l /2 M.) Breteuil-Gare a branch- 
line leads to the (4i/ 2 M.) small town of Breteuil (2830 inhab.). 

104 M. St. Just-en-Chaussee, the centre of a hosiery-manufac- 
turing district, and the junction of lines to Beauvais and Douai. 

II7V2 M. Clermont de l'Oise (Hotel St. Andre, well spoken of), 
a town with 5723 inhab., pleasantly situated on a hill, is commanded 
by an ancient castle now used as a prison for women. The church 
of St. Samson, of the 14th and 16th cent., has recently been restored. 
The Hotel de Ville, built in 1320 and restored in 1887, is said to be 
the oldest in the N. of France. The country here is well-peopled 
and picturesque. Branch-lines to Compiegne and to Beauvais. 

122^2 M. Liancourt- sous -Clermont (Hot. du Chemin-de-Fer- 
du-Nord), a manufacturing town with 4000 inhab., contains the 
ruined chateau (17th cent.) of the dukes of La Rochefoucauld-Lian- 
court and a Statue of Duke Frederic Alexandre (1747-1827), distin- 
guished for his philanthropy and his encouragement of agriculture. 
The church contains two good marble monuments. 

127 M. Creil , beyond which the train skirts the Oise. Large 
porcelain-factory on an island in the river. 

From Creil to (159 M.) Paris, see R. 28. 



36. By Dover, Calais, and Amiens. 

283 M. By Express (see 'Bradshaw'), starting from Charing Cross, Can- 
non Street, Victoria, Holborn Viaduct, and St. Paul's stations, in 7V2-10 hrs. ; 
sea-passage l-H/2 hr.; fare 21. 16*. &»., ll. 19s. 8dL, and U. 5*. 9tf. (3rd el. 
by night service only) •, tickets available for seven days, with option of 
halting at Dover, Calais, and Amiens; return-tickets, valid for one month, 
4Z. 15s. 9d., Si. 9s. 10df., and 21., 0s. Qd. — Luggage should be registered 
before leaving England, to avoid examination at Calais. 

Calais. — Hotels. Grand-Hotel (PI. a; B, 4), Place Richelieu, R. 3-7, 
D. 4 fr. ; Terminus, at the Gare Maritime (PI. C, 2); Central, at the 
Central Station (PI. B, 5), R. from 3, D. 3 fr., good; Meurice (PI. b; B, 3), 
Rue de Guise 7, R. 3-6, D. 3 fr. ; du Sauvage (PJ. c-, B, 4), Rue Royale 39, 
R. from 2 J /2 fr., good; du Commerce (PI. d; B, 4), Rue Royale 51; Victoria 
(PI. e; C, 3), Rue des Thermes 34. — Cafes: Bellevue, du Globe, Place 
d'Armes; Grand Cafe", corner of the Boul. Pasteur and Lafayette. — Sea- 
Baths, to the N. of the Bassin de Retenue. 

Cabs. For 1-2 pers., per drive 90 c, per hr. l l / 2 fr. ; 3 pers. 1 fr. 20 c.j 
2 fr. ; 4 pers. 1 fr. 60 c, 2 fr. 50 c. ; double fare after 11 p.m. — Tramways 
from the Place d'Armes (PI. B, C, 3) to the Pont St. Pierre (PI. E, 6); 
from the Boul. Jacquart (PI. C, 5, Q) to the old Gare de St. Pierre (PI. A, 6) 
and to the Gare des Fontinettes (PI. B, 7); from the Pont St. Pierre to St. 
Pierre Station (see PI. F, 8). — Omnibus in the season from the Place 
d'Armes to the Casino (PI. A, 2). 

Post & Telegraph Office, Place Richelieu (PI. B 4 and Boul. 
Pasteur 2, at St. Pierre (PI. C, 6). 



HalteS* Pierre..- 




to Paris. CALAIS. 36. Route. 435 

British Consul, C. A. Payton; Vice-consul, E. H. Blomefield (also Lloyd's 
agent). — United States Consul, James B. Milner ; Vice-consul, Henry L. A. 
Lunings. — Bankers: Adam & Co., Hue Royale 8; Banque de France, Rue 
Leveux 28; Cridit Lyonnais, Boul. Jacquart 37. 

English Church (Holy Trinity), Rue du Moulin -Brule". — Wesley an 
Chapel, Rue du Temple. 

Calais, a town with 59,743 inhab. , including St. Pierre-lls- 
Calais, and a fortress of the first class, derives its chief importance 
from its harbour and its traffic with England, to which it is the nearest 
port on the French coast. Dover is 18 M. distant. About 260,000 
travellers pass through the town annually. The 1500 English resi- 
dents are chiefly engaged in the tulle-manufactories (see below). 

The Harbour, which is accessible at all states of the tide, 
has been doubled in size by extensive new works, completed at 
a cost of 2,400, 000L The Old Harbour, with the former railway- 
station, lies nearest to the Place d'Armes ; the imposing *New 
Harbour farther to the E. The Oare Maritime (PI. C, 2), where pass- 
engers from England find the train for Paris waiting, is situated on 
the N.E. side of the Avant-Port (PI. B, C, 2), and is connected by 
a short branch-line with the Oare Centrale (see below). 

The old Hotel de Ville (PL B, C, 3), in the Place d'Armes, was 
erected in 1740 on the site of an earlier building of which the tower 
still remains (15th cent.). It is adorned with small busts of the 
Due de Guise, 'libtfrateur de Calais en 1558', and Richelieu, the 
founder of the citadel in 1634. It contains a small Musee of paint- 
ings, antiquities, and natural history (adm. free on Sun. and holidays 
and on Mon., Thurs., & Sat., 10 to 4 or 5). 

The church of Notre-Dame (PL C, 4), on the E. side of the 
town, dating from the 12th and (chiefly) 14th cent., has been modern- 
ized. The handsome marble altar, an Assumption by Seghers (1628), 
and a Descent from the Cross by Rubens (?) may be inspected. 

At the end of the Rue de Guise, leading S. from the Place d'Armes, 
is the Hotel de Ouise (Pl.B, C,4), in the English Tudor style, orig- 
inally founded by Edward III. as a guildhouse for the wool-staplers. 

The Oare Centrale (PL B, 5) lies between Calais proper and 
St. Pierre. Near it, on the St. Pierre side, are a pretty Park and 
the Place Centrale (PI. C, 5), with the 'Monument des Enfants du 
Calaisis', by Maugendre-Villers (1904). 

St. Pierre-les-Calais is the industrial and commercial part of 
Calais. Its prosperity is due chiefly to its extensive manufacture 
of tulle and lace, an industry which was introduced from Notting- 
ham in 1818. The Church of St. Pierre (PI. D, 7), built in 1862- 
70, and the Hotel de Ville are both situated in the Place Crevecoeur. 

From Calais to Boulogne. — 13/ 4 M. Calais -Ville (central 
station, see above) ; 3 M. Fontinettes, still within the new fortifica- 
tions of Calais. 5 M. Frethun; ll 3 / 4 M. Caffiers. — 17 M. Marquise, 
a small town with marble quarries, is 7 M. from Cap Oris Nez, the 
nearest point to the English coast. 

28* 



436 Route 37. DIEPPE. From London 

26 M. Boulogne, and thence to Paris, see R. 35. 

The express trains from Calais to Paris (3V4-3 3 /4 brs.) do not enter 
Boulogne itself, bat touch at the suburban station of (25 M.) Boulogne- 
Tintelleries (p. 430). 



37. By Newhaven, Dieppe, and Rouen. 

248 M. By Express from Victoria and London Bridge stations (see 
'Bradshaw 1 ) in 8 3 /4 (day-service; 1st & 2nd cl. only) or 10 hrs. (night-service); 
sea-passage 3V2-4V2 hours. Fares : single tickets, available for seven days, 
385. Id., 28s., 18s. Id. ; return- tickets, available for one month, 66s. 3d., 
47s. Id., 33s. 3d. Pullman car (Is. extra) between Victoria and Newhaven; 
and restaurant-car (1st and 2nd cl.) on the day-service between Dieppe 
and Paris (in both directions). — Holders of 2nd cl. tickets are admitted 
to the 1st. cl. saloon on board the steamers on payment of 5s.; 3rd cl. 
passengers may use the 2nd cl. saloon on payment of 3s. 6d. — Luggage 
should be registered at London or Newhaven in order to avoid examination 
at Dieppe ; in returning, luggage registered to London is examined at New- 
haven. This route from London to Paris, the shortest in actual mileage 
though not in time, is also one of the cheapest and most interesting. 

Dieppe. — Hotels. Travellers are recommended to ascertain the 
prices beforehand. Hotel Royal (PI. a; C, 1), Regina Palace Hotel 
(PI. b; B, 1), Hotel Meteopole (PL d; D, 1), des Eteangees (PL f; D, 1), 
Geand-Hotel (PL g; E, 1), du Rhin et de Newhaven (PL e; C, 1), all in 
the Rue Aguado, facing the sea and open in summer only (R. from about 4, 
dej. 4-5, D. 5-6 fr.). — Less pretending: Hot. des Familles (PI. 1; C, 2), 
Rue de THotel-de-Ville 9; de la Plage (PL i; D, 2), Rue Aguado 20; 
Hotel de Paeis (PI. m; 0, 1), Place Camille Saint-Saens, good; de la 
Paix (PL j ; C, 2), Grande-Rue 212; Chabiot-d'Ob (PL k; C, 2), Rue de la 
Barre; Hot. du Globe, Noed, et Victobia (PL o ; D, 2), Rue Duquesne 8 ; 
du Commeece (PL n; D, 2) , Place Nationale; Soleil-d'Ob, Rue Gam- 
betta 4. — Furnished Apartments are easily found in the Rue Aguado. 

Restaurants. Cafe" - Restaurant du Casino, on the beach, see p. 437 (dej. 
4, D. 5 fr.); Au Faisan Dor6, Grande -Rue 74 (dej. 2, D. 2Va fr.); Hdtel 
des Arcades and others, under the Arcades de la Bourse, dej. l 3 /4, D. 2 fr. ; 
Buffet, at the Gare Maritime. 

Cafes. Cafe" Suisse, Grande-Rue 1, and in the Arcades ; Cafe" de Rouen, 
Cafe" des Tribunaux, both at the other end of the Grande-Rue. 

Cabs with seats for two pers. l 1 ^ fr. per drive (after midnight 2^2 fr.), 
l 3 /4 or 3 J /2 fr. per hr. ; with four seats 172-3 and 2-4 fr. respectively. 

Post & Telegraph Office (PI. 14), Rue des Tribunaux. 

Baths. Sea-Bath, including tent and foot-bath, 75 c. Hot Bath, fresh 
water 1, with towels, etc., H/2 fr. ; saltwater, IV2, with towels, etc., 2^4 fr. 

British Vice -Consul, H. W. Lee-Jortin, Quai Duquesne 8. — United 
States Consular Agent, M. R. Le Bourgeois, Quai de Lille 8. — Lloyd's Agent, 
M. R. Delarue-Lebon. — Bankers. Banque de France, Quai de Lille 18; 
SocUte" Ginirale, Place de la Barre; Comptoir d?Escompte, Rue d'Ecosse 125. 
— Money Changee, Louis Delarue, Quai Henri-Quatre 35. 

English Churches in the Rue Asseline and the Rue de la Barre. 

The Carved Ivory and Lace of Dieppe are specialties of the place. 

In the vicinity are Golf Links. 

Dieppe, with 22,840 inhab. , is situated in a valley formed by two 
ranges of lofty white chalk - cliffs , at the mouth of the Arques. 
In spite of the vicinity of Havre, Dieppe, with its deep and safe 
harbour, still carries on a considerable trade in coals with Eng- 
land and in timber with Norway and Sweden. Dieppe is also a 
fashionable watering-place, being annually visited by numerous 
English, as well as French families. 



to Paris. DIEPPE. 37. Route. 437 

The Oare Maritime (PI. D,E,2) and the Steamboat Quays are on 
the N. side of the Avant-Port, or onter harbour. To the S.W., beyond 
the Bassins Duquesne a,n<LBerigny, lies the Central Station(Vl. C, 3) ; 
and to the E., between the Bassin Duquesne, and the suburb of he 
Pollet (PL E, 3), inhabited by sailors and fishermen said to be of 
Venetian origin, are several basins of more recent date. 

Along the N. side of the town , between the handsome Boule- 
vard Maritime (PI. O-E, 1), laid out in 1901 , and the Rue Aguado 
in which are the principal hotels, stretches La Plage (PI. C, D, E, 1), 
a handsome promenade, % M. long. At its W. extremity are the 
Casino and the Etablissement des Bains (PI. C, 1). The Casino, the 
principal attraction for visitors, is a handsome brick and glass struc- 
ture replete with every convenience and including a small theatre 
(adm. in the forenoon 50 c, afternoon 1 fr., evening or whole day 
3fr. ; less for subscribers). The terrace in front is reserved for sub- 
scribers; below it are the bathing-boxes. In fine weather the scene 
is very amusing. 

On a precipitous white cliff at the W. extremity of the Plage rises 
the handsome Castle (PL B, 1, 2), with its massive walls, towers, 
and bastions, erected in 1433 as a defence against the English. In 
1694, however, it was unable to resist the cannonade of the English 
fleet, then returning from an unsuccessful attack on Brest, and the 
unequal contest resulted in the total destruction of the town. Visitors 
admitted daily 8-11 and 1.30-5 (fee). The view from the castle is 
very extensive. 

The church of St. R emy (PL 5; C, 2), not far from the castle, 
in a mixed style of the 16th and 17th cent., restored in 1860-63, 
contains huge round columns and some good sculptures. — The 
church of St, Jacques (PL 4 ; C, D, 2), the patron-saint of fishermen, 
in the Place Nationale, is an interesting florid Gothic edifice dating 
from the 12-16th centuries. It has a fine portal and contains 
numerous rich sculptures and stained - glass windows. Near the 
church is the Statue of Duquesne (PL 15 ; D, 2), a celebrated admiral 
and native of Dieppe (1610-88), by Dantan (1844). — To the E. of 
the entrance to the harbour is the modern Gothic church of Notre- 
Dame-de-Bon-Secours (PL F, 2). — The Musee (PI. 11 ; C, 1) 
contains local antiquities, a natural history collection, and a few 
pictures, besides a collection of art and a library recently presented 
by Saint-Saens, the composer, a native of the town. 

The most interesting point in the environs of Dieppe is the ruined castle 
of Arques, situated 4 M. to the S. E., and memorable as the scene of a 
victory gained by Henri IV over the League in 1589. The excursion may 
be made by train, by excursion-brake (there and back 2 fr.), or by carriage 
(5-6 fr.). The *View from the castle embraces the valleys of the Arques, 
the Be'thune, and the Eaulne. 

Other excursions may be made to Varangeville, Puys, CM de Limes or 
the Camp de Ctsar , and Berneval, all on the coast.; also to Le Triport, 
by railway or by pleasure-steamer in summer. 



438 Route 37. ROUEN. From London 

From Dibppe to Paris. 

125 M. Railway via Rouen in 3-67 2 hrs. (fares 18 fr. 80, 12 fr. 70, 
8 fr. 30 c). — Another line leads via Neufchdtel, Qournay, Oisors, and 
Pontoise (in 3 3 /4-5 8 /« hrs. ; fares the same). 

Soon after quitting Dieppe the train passes through a tunnel, 
upwards of 1 M. in length , and then enters the valley of the Scie, 
which it crosses 22 times. After passing several unimportant stations, 
it reaches (32 M.) Malaunay (p. 446 5 Engl. Oh. service by the 
Rouen chaplain), where the Rouen-Havre and Dieppe lines unite. 
From this point to Rouen the district traversed is cheerful and 
picturesque, abounding in cotton and other factories. 

38M. Rouen. — Hotels. Grand -Hotel d'Angleteere (PI. a; C, D, 
3, 4), Cours Boieldieu 6-8; *H6tel de la Poste (PL f; C, 2), Rue Jeanne- 
d'Arc 72, R. from 3, D. 31/2 fr. — Hot. d'Albion (PI. b; C, 4), Quai de 
la Bourse 16; Hot. de Paris (PI. d; D, 4), Quai de Paris 51; Hot. de 
France (PI. e; D, 2), Rue des Cannes 99; all these of the first class, 
R. from 4, de'j. 3, D. 4 fr. — H6tel do Nord (PI. c; C, 3), Rue de la 
Grosse-Horloge 91; Hot. do Chemin-de-Fer de Dieppe (PI. k; C, 1), Vic- 
toria (PI. j; C. 1), both in the Rue Verte, near the station on the right 
bank; Hot. de Normandie (PI. g; D, 3), Rue du Bee 9 (PL D, 13), R. from 2, 
D. 3 fr. ; Hot. de Rouen et do Commerce (PI. i; D, 3), Rue du Bee 21, 
pens. 7 fr. ; Hot. Lisieux (PL h; D. 3). Rue de la Savonnerie 4. — On the 
left bank: Hot. Hoderne (PL 1; D, 4), Place La Fayette, rear the Gare 
de LOuest. 

Restaurants at the hotels. Also, Restaurant de la Cathidrale, Rue des 
Carmes 8, dej. 2V2, D. 3 1 /* fr. ; A la Porte de Paris, Quai de Paris 34, 
de'j. 2, D. 21/2 fr.; de Paris, Rue de la Grosse-Horloge 95, dej. I1/2, D. i 3 / 4 - 

2 fr. ; A la Gour-Martin, Rue Grand-Pont 10 (all these also a la carte). 

Cafes. De la Bourse, Victor, in the Cours Boieldieu ; Eoudard, Quai 
de Paris 58; du Commerce, Quai de Paris; des Posies, Rue Jeanne-d'Arc 43. 

— Brasserie de F Optra, Rue des Charrettes, near the Theatre; Bi-ass. de 
VEpoque, Rue Guillaume-le-Conquerant 11 (PL C, 2, 3); Brass, du Vingtieme- 
Siecle, Place La Fayette. 

Electric Tramways traverse the principal streets and also extend to 

the suburbs : fares 10-50 c. The stopping-places are indicated by white posts. 

Cabs. Per drive 17a fr., per hour 2 fr. ; at night (12-6 a.m.) 272 or 

3 fr. — Each trunk 20 c. 

Steamboats to La Bouille (80 c, 60 c.), Oissel (40 c), to EonHeur and 
Le Havre (7 hrs.; 6 fr., 4 fr.), etc. A time-table is issued gratis at the office 
on the pier beside the Pont Boieldieu. 

Post and Telegraph Offices, Rue Jeanne-d'Arc 45 (PL C, 2). 

British Vice-Consul, C B. C- Clipperton, Rue Beauvoisine49 (also Lloyd's 
Agent). — American Consul, Oscar Malmros ; Vice-Consul, Af. Dellepiane. 

— Bankers. Banque de France, Rue Thiers 32; Cridit Lyonnais, Rue Jeanne- 
d'Arc 8i ; Sociiti Oinirale , Rue Jeanne-d'Arc 80. 

English Church Service in All Saints" Church, He Lacroix, by the stone 
bridge. Wesleyan Church in the Rue Grand-Pont. 

Rouen, the Roman Rotomagus, formerly the capital of Normandy, 
now that of the department of Seine-Infeneure, with 118,460 in- 
hab., exclusive of the suburbs, is a very important cotton manu- 
facturing place, sometimes not very aptly called the Manchester of 
France. It is the richest of French cities in mediaeval architecture, 
though within the last forty years the construction of handsome 
streets like those of Paris has swept away most of the quaint old 
houses that abounded in the former crooked, and picturesque but not 
very healthy streets. The old walls of the town, which bade defiance 



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to Paris. ROUEN. 37. Route. 439 

to Henry V. of England in 1415 and to Henri IV of France in 1592, 
have been converted into boulevards planted with trees. 

Quitting the Oare de la Rive Broite (PI. C, 1) ve turn to the 
left by the Rue Verte, cross the boulevards, and enter the handsome 
Rue Jeanne-d 1 Are, which runs in a straight line to the Seine. To 
the left is the Tour de Jeanne d'Arc (PI. C, 1), the donjon of a castle 
which was the scene of the trial of Joan of Arc; the tower in which 
she was imprisoned was pulled down in 1809. — On the E. side 
of the Jardin Solferino (PI. C, 2), farther on, is the Musee (p. 441), 

The * Palais de Justice, in the Rue aux Juifs (PI. 0, D, 2, 3), 
in the late Gothic style, resembles the handsome town-halls of 
Belgium, although consisting of two stories only. The central 
part of the edifice and the projecting wings form an entrance-court, 
enclosed by a railing. The left wing contains the Salle des Procu- 
reurs or des PasPerdus, erected in 1493, a spacious hall with a high- 
pitched waggon-roof and the ancient judicial bench erected here in 
1508. The central part was erected in 1499, for the Cour de VEchi- 
quier, the supreme tribunal of Normandy, which under Francis I. 
was styled 'parlement'. The assizes are now held here. The con- 
cierge lives in the. right wing, a modern addition. 

Returning to the Rue Jeanne-d'Arc, we descend it to the first 
street on the left, which leads to the Tour de la Qrosse Horloge or 
Belfry (PI. 0, 3), erected in 1389 and restored in 1892. — Oppo- 
site the end of the Rue de la Grosse-Horloge rises the — 

** Cathedral, or Notre -Dame (PI. D, 3), the principal parts 
of which date from 1207-80, one of the grandest Gothic edifices 
in Normandy, although remarkably unsymmetrical in plan. The 
*W. Facade, of the 16th cent., is profusely decorated in the florid 
style, but the sculptures are much dilapidated. The two unfinished 
towers of the facade are of unequal height. The *Tour de Beurre, 
the loftier and more beautiful, 252 ft. in height, derives its name 
from having been erected with the money paid for indulgences to 
eat butter during Lent. The other, the Tour St. Romain, is 245 ft, 
high ; with the exception of the highest story, it dates from the 
12th cent., and is thus the oldest part of the whole building. The 
Central Tower, over the crossing, is surmounted by an incongruous 
iron spire (since a fire in 1822), which reaches the height of 465 ft. 
A spiral staircase ascends to the summit (1-4 pers. 2fr.). The two 
side-portals, dating from the 15th cent., are of great interest, 
especially that on the N., called the *Portail des Libraries from the 
book-stalls that once occupied the court. 

The Interior of the church (447 ft. in length; transept 177 ft. in 
length ; nave and aisles 105 ft. in width ; 92 ft. in height) is in the early 
pointed style, and possesses three fine rose- windows in the nave and 
transepts. Part of the stained glass dates from the 13th century. The first 
chapel on the right, in the Tour de Beurre, contains a large altar-piece, 
representing the Crucifixion and the Martyrdom of St. Stephen, and also 
several monuments of the 13th and 14th centuries. The last chapel on the 
S. side of the nave contains the tomb of Rollo (d. 927), first Duke of Nor- 



440 Route 37. ROUEN. From London 

mandy, and the corresponding chapel on the N. side that of his son William, 
Longue-Epie (d. 943). — From the N. transept a beautiful Gothic staircase, 
with open tracery, ascends to the chapter-library. — In the S. ambulatory 
is an ancient mutilated figure in limestone, 7 ft. in height, of Richard Coeur- 
de-Lion (d. 1199), discovered in 1838; his heart is interred below. Its orig- 
inal resting-place in the choir is indicated by a small marble tablet. In 
the N. ambulatory is a corresponding (modern) figure of Richard's elder 
brother, Henry Curtmantle (d. 1183), who also is buried in the choir. 

To the right in the beautiful "Ladij Chapel is the magnificent "Monu- 
ment of Cardinal Georges d'Amboise and his nephew, who also was a car- 
dinal, by Roland Leroux, erected in 1525. To the left is the handsome 
"Monument of the Due de Brizi (d. 1530), grand-seneschal of Normandy, 
erected by his widow, the celebrated Diana of Poitiers (d. 1566), mistress 
of Henri II, and attributed to Jean Cousin and Jean Qoujon (p. 110). — 
The altar-piece, an Adoration of the Shepherds, is by Ph. de Charnpaigne. 

*St. Maclou (PI. E, 3), to the W. of the cathedral, beyond the 
Rue de la Republique, 'un diminutif de St. Ouen', as it has been 
called, is a very rich example of the florid Gothic style of the 15th 
century. The modern spire was completed in 1869. The exquisitely 
carved reliefs on the wooden doors are ascribed to Jean Goujon. 

The Rue de la Re'publique descends to the Seine, which is here 
upwards of 300 yds. in breadth and separates Rouen from the sub- 
urb of St. Sever (PI. C, D, E, 4, 5). The Quays extend along the 
bank for l 1 /^ M. The Pont Corneille ox Pont de Pierre (PL D, 4), con- 
structed in 1829, passes over the lower end of the fleLacroix, where 
there is a statue of Corneille (see below), by David d' Angers. Farther 
down the river is the Pont Bo'ieldieu (PI. D, 4), a handsome iron 
bridge, erected in 1885-88, nearly opposite which is a statue of the 
composer Bo'ieldieu (d. 1834). Adjacent are the Theatre des Arts 
(PI. 12; D, 3, 4) and the Bourse, which comprises also the Tribunal 
de Commerce. Still farther down is a 'Pont Transbordeur' (PL B, 4,), 
or moving bridge slung from two lofty towers (pontage 10 or 5 c). 

The Rue Jeanne-d'Arc (p. 439) leads from the quay into the 
town, passing the church of St. Vincent (PL C, 3), a pretty Gothic 
building of the 16th cent., with a 17th cent, tower and fine stained- 
glass windows (16th cent.). Farther on is the handsome Tour 
St. Andre (PL 0, 3), a relic of an old church of the 15-16th centuries. 

The Rue des Ours leads to the W. from this point to the Place 
de la Pucelle (PL C, 3), the traditional scene of the burning of 
Joan of Arc in 1431. It is believed, however, that the exact spot of 
the execution was a little higher up, in the Place du Vieux-Marche 
(PL C, 3), where the Theatre Francais now stands. The house in 
which Corneille (1606-1684) was born is No. 4, Rue de Corneille, 
beyond the Place (PL B, 3). 

The *H6tel du Bourgthiroulde (PL C, 3), on the W. side of the 
Place de la Pucelle, erected at the close of the 15th cent. , in the 
style of the Palais de Justice, is adorned with a number of reliefs, 
some of which represent the interview on the 'Field of the Cloth of 
Gold' (1520). The graceful hexagonal tower is decorated with sculp- 
tures. The building is now occupied by a bank , but the court is 
open to the public on week-days (on Sun. apply to the concierge). 



to Paris. ROUEN. 37. Route. 441 

From the Vieux Marche* (p. 440) the Rue Guillaume-le-Con- 
que'rant leads back to the Rue Jeanne-d'Aro, which we follow to the 
N. to the Jardin SolfCrino. Here stands the — 

MuBta-Bibliotheque (PI. C,2), containing a collection of Italian, 
Dutch, and modern French pictures, besides sculptures and a ceramic 
collection. The Muse*e is open daily from 10 (on Mon. from 12) to 4 
or 5; gratis on, Thurs., Sun., and holidays, other days 1 fr. — The 
Municipal Library (open daily, 10-5), at the back of the Musee, 
contains 132,000 printed vols., 3500 MSS., 2700 coins and medals, 
and about 2000 portraits of eminent natives of Normandy. 

The adjacent church of St. Laurent (PI. D, 2; 15-16th cent.), 
with a fine tower, has been converted into shops. The church of 
St.Qodard (P1.D,2), behind St. Laurent, partly of the 16th cent., con- 
tains admirable modern stained-glass windows and mural paintings. 

From the Musee the Rue Thiers leads to the E. to the Place de 
V Hotel -de -Ville. Here stands — 

**St. Ouen (PI. D, E, 2), one of the most beautiful Gothic churches 
in existence , surpassing the cathedral both in extent and in ex- 
cellence of style. Most of it was built in 1318-39, but the W. Portal, 
flanked by two towers 282 ft. in height, was erected in 1848-51. 
The *Tower over the transept, 268 ft. in height, is surmounted by 
an octagonal open-work lantern, terminating in a gallery (*View). 
The N. facade has no lateral portal, but the S. * i Portail des Mar- 
mouset8\ so called from the heads with which it is adorned, deserves 
minute inspection. The reliefs over the door represent the Death 
and Assumption of the Virgin. Above this portal is a magnificent 
rose-window, still higher is an arcade with six statues, and the 
whole is crowned with a pediment bearing a statue of St. Ouen 
(d. 678), Archbishop of Rouen. 

The proportions of the interior (453 ft. in length, 84 ft. in width ; 
transept 138 ft. in length; 106 ft. in height) are remarkably pleasing. 
The walls appear to be almost entirely displaced by the numerous 
windows, 135 in number, all filled with stained glass. The unusually 
lofty triforium is exceedingly beautiful. In the nave and transepts are 
three fine rose-windows, also filled with stained glass. 

The verger (fee) shows the choir -chapels, and points out several 
spots which command fine views of the interior. The whole of the 
interior is reflected in the benitier near the W. door. The visitor should 
ascend to the triforium and to the outer gallery (1 fr. each person). 

At the back of the church and the adjoining Hotel de Ville is a 
pleasant garden to which the public are admitted. The Chambre aux 
Clercs, a Norman tower of the 11th cent., adjoins the church on 
this side, and probably formed part of an earlier church. 

The Hotel de Ville (PI. D, E, 2), on the N. side of the church, 
a building in the Italian style, was formerly the dormitory of the 
abbey of St. Ouen. In front of the edifice rises an Equestrian Statue 
of Napoleon L, by Vital-Dubray. 

We now ascend the Rue de la Republique to the N., at the top 
of which is the large * Fontaine Ste. Marie (PI. D, 1), by Falguiere 



442 Route 37. LES ANDELYS. From London 

and Deperthes. To the left is an old convent, now containing the 
*Museum of Antiquities (open daily, 10 to 4 or 5 , except on Mon. 
and Sat.) and the Museum of Natural History (open daily, 10 to 4 
or 5 ; on Mon. from 12). 

The church of St Patrice (PI. 0, 2), a little to the W. of the 
Jardin Solferino, contains magnificent stained-glass windows, some 
dating from the 16-17th centuries. The allegorical window at the 
end of the N. aisle, attributed to Jean Cousin, is considered the 
best. — St Gervais (PL A, 1), about 3/ 4 M. farther to the W., is a 
Romanesque church rebuilt in 1868-76, with a curious old crypt of 
the 4th century. William the Conqueror died here in 1087. 

An interesting excursion may be made from Rouen by electric tram- 
way (40 or 30 c.) to the pilgrimage-church of Notre-Dame-de-Bon-Secours, 
or simply *Bon-Secours as it is usually called, situated on the lofty 
bank of the river, 2 M. above Rouen. The interior is lavishly adorned 
with painting, gilding, marble, and stained glass. Beside the church is 
the Monument of Joan of Arc (adm. 25 c), which consists mainly of three 
elegant little Renaissance buildings by Lisch, connected by a platform. 
The *View from the platform embraces the city, the course of the river 
for many miles above and below Rouen, and in the distance the rich and 
verdant pastures of Normandy. 

A pleasant steamboat-excursion may be taken to La Bouille, a small 
but busy town, 1272 M. below Rouen. The Chateau de Robert le Diable, the 
scanty ruins of which occupy the top of a neighbouring height, affords 
a charming view of the wooded hills , the valley of the Seine with its 
white chalk-hills, and in the distance Rouen with the cathedral. 

From Rouen to Paris. The train passes through two long 
tunnels and crosses the Seine, affording a beautiful view of Rouen 
to the rigbt. To the left, on the hills which rise from the river, 
stands the church of Bon-Secours. 39 l /4 M. Sotteville. From (44 M.) 
Oissel a branch-line runs to Elbeuf (Grand-Hotel, pens. 7y 2 f r 0> 
6 M. distant, a cloth-manufacturing town, with 19,050 inhabitants. 
Beyond Oissel the train crosses the Seine. — 48 1 /2 M. Pont-dc- 
VArche (Hot. de Normandie) , where the Seine is again crossed, 
above the influx of the Eure , is the junction of a line to Gisors ; 
it possesses a fine church of the 15-1 6th centuries. — 56 M. 
St. Pierre-du- Vauvray , whence a branch-line diverges to Louviers 
(Hotel du Mouton), a town of 10,219 inhab. with large cloth-factories. 

Another branch -line runs hence to (10 M.) Les Andelys (Hdt. de 
Paris; Chaine-iT Or ; Grand Cerf), near which, on the right bank of the 
Seine, are the rains of the castle of Qaillard, erected by Richard Coeur- 
de-Lion to command the navigation of the Seine and protect Normandy 
against the French monarchs. It was destroyed by Henri IV in 1663. 

The train now penetrates the chalk-hills by means of two tunnels. 

The station of (64 M.) Gaillon (H6t. d'Evreux) lies opposite the 
village of Courcelles. The chateau of Gaillon , erected in 1500, and 
now used as a prison, was one of the finest in Normandy, and a fa- 
vourite residence of Francis I. The lofty facade has been removed 
to the court of the Ecole des Beaux- Arts at Paris (p. 292). 

75 */2 M. Vernon (Hotel d'Evreux), with 8757 inhab., once a 
strongly-fortified town, possesses a conspicuous tower, erected in 



to Paris. POISSY. 37. Route. 443 

1123 by Henry I. of England. The Church of Notre-Dame is an inter- 
esting building of the 12-15th centuries. Branch-lines to Oisors 
and to Pacysur-V Eure diverge here. To the left are the ruins of 
the castle of Chdteauneuf, constructed by Philip Augustus. 

The long tunnel between (82 M.) Bonnieres and Rolleboise cuts 
off the wide circuit which the river describes here. 

At the chateau of (84 M.) Rosny Sully, the celebrated minister 
of Henri IV, was born in 1559. It was afterwards the property of 
the Duchesse de Berry, who resided in it from 1818 to 1830. 

92y 2 M. Mantes ( Grand- Cerf; Rocher de Cancale), a pictur- 
esque town with 8000 inhab., is surnamed l La Jolie 1 . The lofty 
towers of the Gothic church of *Notre-Dame, dating from the end 
of the 12th cent., are conspicuous objects in the town. The portal 
is richly sculptured. The old tower of St. Maclou (14th cent.) is 
also interesting. It was at Mantes that William the Conqueror re- 
ceived by a fall from his horse the injury of which he afterwards 
died at Rouen (1087). — Line to Paris via Argenteuil, see pp. 391 , 390. 

The line continues to skirt the banks of the Seine, and fre- 
quently commands fine views. Several unimportant stations. 

108 M. Poissy (Buffet; E6tel de Rouen; Restaurant de VEstur- 
geon), a town with 7400 inhab., was the birthplace of St. Louis 
(1215-70), who frequently styled himself 'Louis de Poissy'. Here 
in 1561 a conference was assembled by order of the States General, 
with a view to adjust the differences between the Roman Catholic 
and Protestant parties. Their deliberations, however, led to no re- 
sult, owing to the strong condemnation of the Calvinists by the Sor- 
bonne. The principal church is a fine building of the transition- 
style of the 12th century. Poissy is also a station on the Ligne de 
Grande Ceinture (p. 380). 

Ill M. Acheres, in the forest of St. Germain (p. 392), the junc- 
tion of the direct line toDieppe (via Pontoise, p. 392). At (114 M.) 
Maisons-Laffitte (p. 391) the Seine is again crossed. Near (120 M.) 
Colombes the line recrosses the Seine. St. Germain with its palace 
is a conspicuous object on the hill to the right. 

The Seine is crossed for the last time at Asnieres (p. 339), where 
the lines to Argenteuil and Versailles diverge. The train passes Clichy, 
intersects the fortifications of Paris, and beyond a short tunnel under 
the Place de l'Europe reaches the Gare St. Lazare at — 

125 M. Paris. Conveyances, see p. 1. 



38, By Southampton, Havre, and Eouen. 

342 M. By Railway from Waterloo Station to Southampton in l»/ 4 -2V4 
hrs. ('boat-train 1 at 9.50 p.m.; see advertisements in 'Bradshaw 1 ) ; by Steam- 
boat to Havre every night (except Sun.) in 7-8 hrs. ; by Express from 
Havre to Paris (St. Lazare) in 3 hrs. (quick trains, i l /i hrs. ; ordinary trains, 
6-6 l /2 hrs.). Omnibus from the quay to the station at Havre included in 
the fare. Single tickets, available for seven days, 33s. lOd. and 24s. lOd. ; 



444 Route 38. LE HAVRE. From London 

return-tickets, available for one month, 565. 8d. and 40*. Bd. Luggage may 
be registered direct to Paris. — This route is pleasant in fine weather. 

Le Havre. — Hotels. *Grand-H6tel Fkascati (PI. a; B, 4), on the 
beach, far from the centre of the town, first class, R. from 6, dej. 5, D. 6 fr. ; 
Continental (PI. b; C, 4), opposite the Jete"e, R. from 6, dej. 4, D. 5 f r. •, 
de Bordeaux (PI. d; C, 3), Place Gambetta 17; de Noesiandie (PI. e; C, 3), 
Rue de Paris 106; d'Angleterre (PI. f ; C, 2), Rue de Paris 124; Tortoni 
(PI. g; C, 3), Place Gambetta; de Russie (PI. e; C, 3), Rue de Bordeaux 42 
(R. & B. only) ; des Armes de la Ville (PI. k; C, 4), Rue d'Estimauville 29 ; 
des Negociants (PI. 1; C, 3), Rue Corneille 3, R. 2-3, D. 3 fr. ; Hot. de 
l'Amiraute et de Paris (PI. i; C, 4), Grand-Quai 43; de Dieppe, Rue de 
Paris 78; Gr.-H6t. Parisien, opposite the station, R. from 2, D. 3 fr. 

Restaurants. At the Hdt. Frascati, see above ; Tortoni (see above), in 
the Arcades of the Place Gambetta, a la carte; E6t. du Plat-d^ Argent, Place 
Richelieu, de'j. l 3 /4, D. 2 1 /* fr., beer or cider included. 

Cafes. Tortoni, see above (band in the evening) ; Frascati, see above ; Inter- 
national, Guillaume Tell, Place de THotel-de- Ville; de Paris, Place Richelieu. 

Gabs. In the town, per drive 1 fr. 25 c, per hr. 2 fr. (after midnight 2 
and 272 fr.); on the heights as far as the octroi-limits, per drive l 3 /4, per 
hr. 2»/« fr. (after midnight 2 J /2 and 3 fr.); to Ste. Adresse (Le Carreau), 
per drive l»/4, per hr. 21/4 fr. (3 fr. at night). Trunks, 20, 30, or 50 c. 

Electric Tramways in the principal streets and to the environs. — 
Cable Railways from the lower station, Rue Gustave- Flaubert 55 bis 
(PI. D, 1), to the upper station, Rue Felix -Faure 44 bis (fare 10 c), and 
from the Rue de Normandie to the Cimetiere Ste. Marie. 

Post and Telegraph Office (PI. C, D, 2), Boul. de Strasbourg 108 and 110. 

Steamboats, starting from the Grand-Quai (PI. C, D, 4), to Honfleur, 
Rouen, Trouville, Caen, Southampton, London, New York, etc. 

British Consul -General, Walter R. Hearn; Vice -Consul, J. 8. Rowell 
(also Lloyd's agent). — American Consul, Alphonse Gaulin; Vice-Consul, 
/. P. Beecher. — Bankers. Banque de France, Rue Thiers 22; Cridit Lyon- 
nais, Boul. de Strasbourg 73; Sociiti Oinirale, Rue de la Bourse 27. 

English Church (Holy Trinity), Rue de Mexico. — Wesleyan Methodist 
Chapel, Place Gambetta. 

Le Havre, formerly called Havre-de- Grace, from a chapel of 
Notre-Dame-de-Grace founded by Louis XII in 1509, was fortified 
by Francis I. in 1516. It is now the seaport for Paris , and next to 
Marseilles the most important in France (130,196 inhab.). The 
buildings and the commercial prosperity of the town, which is mainly 
derived from its ship-building yards and sugar-refineries, are of very 
recent origin. 

The Rue de Paris, beginning at the W. end of the Grand Quai 
(PI. C, 4), where passengers from England disembark, and inter- 
secting the town from S. to N., is the centre of traffic. The quay 
is continued to the W. by the Chausse'e des Etats-Unis, terminating 
in the Nouvelle Jetee (PI. B, 5), near the Hotel Frascati, which 
commands a fine view, and is a favourite promenade. 

At the S. end of the Rue de Paris rises the Hmce (PI. C, 4), 
built in 1845 (open on Sun., Mon.„ Tues., Thurs., and Sat. 10 to 4 
or 5.30; on Wed. and Frid. on application), containing a collection 
of paintings, sculptures, casts, coins, etc. 

Farther up the Rue de Paris, on the right, is the church of Notre- 
Darne (PL O, 4), built in the 16th cent, in a transition style. 
Farther on is the Place Gambetta (PI. C, 3), bounded on the E. by 



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to Paris. LE HAVRE. 38. Route. 445 

the Basdn du Commerce and on the W. by the Grand Thedtre, and 
embellished with statues by David d' Angers of Bemardin dt St. Pierre 
(1737-1814), author of 'Paul and Virginia', to which the reliefs refer, 
and Casimir Delavigne (1794-1843), the dramatist, both natives of 
Havre. — At the N. end of the Rue de Paris is a Jardin Public, 
beyond which is the handsome modem Hotel de Ville (PI. C, 2). 

The former Palais de Justice, in the Vieux Marche - (PI. C, 4), to the 

E. of the Rue de Paris, now contains an important Museum of Natural 
Hittory (open on San. and Thurs., 10 to 4 or 5). 

The Boulevard de Strasbourg (PL F-A, 2), which passes in 
front t)f the Hotel de Ville, stretches from the Railway Station (PI. 

F, 2), on theE., to the sea, on theW., passing the Palais de 
Justice, the Sous- Prefecture , and the Bourse, a fine Renaissance 
edifice on the S. side of the Place Camot (PI. D, 2). 

The extensive Hakboub, and Docks (PI. C-G, 2-5) deserve a 
visit. Between 1837 and 1887 over 5, 000, 0001. were spent upon 
them, and extensive additions are projected. The oldest dock is the 
small Bassin du Roi, excavated in 1669. The largest is the Bassin 
de VEure (PI. E, F, 3, 4, 5), 70 acres in area, constructed in 1846-56, 
where the huge Transatlantic steamers lie. The Canal de Tancarville 
was constructed to connect the Seine directly with the harbour, and 
to enable ships to escape the 'barre' or tidal wave in the estuary. 

As Havre itself contains little to interest travellers , those 
who have a few hours at their disposal may ascend the Cote dUn- 
(jouville (cable-railway, p. 444), on the N. The *View is specially 
fine at sunset and at night when the town and harbour are lit up. 

— An electric tramway (p. 444), starting from the Rond-Point, runs 
to Ste. Adresse (Hotel Marie- Christine ; H6tel des Phares), a favourite 
little bathing-place 2^2 M. to the N.W. Visitors should alight at the 
'Quatre Chemins' or the Rue des Bains, and proceed to the light- 
house, Phare de la Hive, which commands a fine view. 

Steamers ply three or four times daily from Havre in */<-l hr. (fares 3 fr., 
1 fr. 60, 85 c.) to Trouville-sur-Mer (I/dtels des Roches- Noires, de Paris, Belle- 
vue, de la Plage, on the beach ; Tivoli, Bras-d'Or. in the town; and many 
others), pleasantly situated at the mouth of the Touques and now the most 
fashionable watering place on the coast of Normandy. Pop. 6300. The 
season lasts from June to Oct., and is at its height in Aug., when living 
here is extremely expensive. The Casino or Salon is a large and hand- 
some structure, with concert-rooms, ball-rooms, and a fine terrace on the 
shore. The beach is excellent. A number of handsome villas have sprung 
up in the environs. — Deauville (Hotel du Casino) and a number of less 
pretending watering-places sprinkled along the coast also afford good 
summer-quarters (see Baedeker's Northern France). 

Fkom Havbe to Pabjs. 

142 M. Railway in 3-6»/2 hrs. (fares 25 fr. 55, 17 fr. 25, 11 fr. 25 c). 

— Steamboat up the Seine to Rouen daily 6-7 hrs. (fares 6 and 4 fr.), 
tedious, but scenery very pleasing at places. 

The railway -station at Havre is near the Cours de la Repub- 
lique. On quitting the station we observe Oraville, with its curious 
church of the 11th cent., on the high ground to the left. 



446 Route 35. YVETOT. 

S 1 ^ M« HarfJeurl I lot. des Amies), the first station, once an im- 
portant seaport, has long since yielded up its traffic to Havre. Us 
old harbour has been tilled up by the deposits of the LSzarde ; the 
new harbour, l/j M. away, is connected with the Canal de Tancar- 
villo [p. 445). In 1415 the town was taken by Henry V. of England, 
to whom the foundation of the fine Gothic church is attributed. From 
Harfleur a branch-line runs to (2 1 / / 4 M.) Monti villiers, an industrial 
town with an old abbey-church. — Beyond (lS 1 ^ M.) Beuzeville- 
lh\\iut<\ from which a branch-line runs to (StyjM.) LiUebonne ^Ho- 
tel du Commerce), the train crosses a lofty viaduct. 

UH/oM. Bolbec-Nointot is the station for Bolbec, a thriving manu- 
facturing town with 11,820 inhab., 2 M. to the S. 

31 M. Yvetot (Hotel des Yictoires; du Chemin-de-Fer, at the 
station) is another manufacturing place, with 7352 inhab., the 
ancient counts or soi-disants kings of which are playfully described 
by Be'ranger. 

36 M. Motteville is connected with the Dieppe railway by a 
branch-line to Cleres (16 M.). Another branch runs to ('20 M.) St. 
Yala-y-en-Caux, frequented as a bathing-place. — The pleasant vil- 
lage of (42 l />2 ftl.) Pavilly is commanded by the restored chateau of 
Esneval. The train quits the undulating and fertile table -land of 
the Pays de Caux, and descends to the viaduct of Barentin, 570 yds. 
in length, and 100 ft. above the level of the valley. From (44 M.) 
Barentin (Hot. du Grand- St-Pierre) a branch-line runs to (18 M.) 
Caudebec. The train soon enters a tunnel, nearly 1^2 M. in length, 
beyond which it reaches (49 M.) Malaunay, where the Dieppe line 
diverges. From this pointto (55 M.) Rouen and to Paris (142 M. from 
Havre), see pp. 438-443. 



LIST 

of the most important Artists mentioned in the Handbook, with a 
note of the schools to which they belong. 

Abbreviations: A = architect; P. = painter; S. = sculptor; c, ca. 
= circa, about; Belg. = Belgian; Bol. ss Bologneae ; Engl. = English 
Ferr. = Ferrarese; Flem. = Flemish; Flor. = Florentine; Fr. = French; 
Ger. = German; Ital. = Italian; Lornb. = Lombardic ; Mil. = Milanese 
Neap. = Neapolitan; Rom. = Roman; Span. = Spanish; Umbr. = Urn 
brian : Ven. = Venetian, etc. 



t\badie, Paul, Fr. A., Paris; 1812-81. 
Abbale, Nie. dell\ Lomb. P.; 1512-71. 
Abel de Pujol, Alex.- Lewis, Fr. P., 

Valenciennes, pupil of David; 1785- 

1861. 
Adam, Jean-Vict., Fr. P., Paris ? pupil 

of Meynier and Regnault; 1801-66. 
— , Lamb.- Sigisb., Fr. S., Nancy; 

1700-59. 
Aizelin, Eug., Fr. S., Paris, pupil of 

Ramey and Dumont; 1821-1902. 
Alaux, Jean, Fr. P., Bordeaux, pupil 

of Vincent; 1786-1864. 
Albano, Franc, Bol. P., pupil of L. 

Carracci; 1578-1660. 
Allegrain, Gabriel - Christ. . Fr. S.: 

1710-95. 
Allegri, see Correggio. 
Amaury-Luval , Eug.-Emm., Fr. P., 

Paris, pupil of Ingres; 1808-85. 
Amerighi, see Caravaggio. 
Androuet, see Du Cerceau. 
Angelico (Era), da Fiesole, Flor. P. ; 

1387-1455. 
Anguier, Francois, Fr. S., Eu; 1604- 

1669. 
— , Michel, Fr. 8., brother of the last; 

1612-86. 
Antonello, see Messina. 
Audran, Girard, the most celebrated 

Fr. engraver of this name, Lyons ; 

1640-1703. 
— , Claude , Fr. P. , brother of the 

last; 17th century. 

huffier, Eug., Fr. 8., Neuvy-le-Bar- 

rois (Cher); b. 1851. 
Ballu. Theodore, Fr. A., Paris ; 1817-85. 
Baltard,Victor, Fr.A., Paris ; 1805-74. 
Baize, Jean- Et.- Paul. Fr. P., Rome, 

pupil of Ingres ; 1815-84. 
— . Jean- Ant. -Raym., Fr. P., Rome, 

brother and collaborator of the last • 

h. 1818. 
Barbarelli, see Giorgione. 



Barbieri, see Guereino. 

Baroccio, Federigo, Rom. P.; 1528- 

1612. 
Barrias, Filix-Jos., Fr.P., Paris, pupil 

of L. Gogniet; 1822-1907. 
— , Louis-Ernest, Fr. S., Paris, pupil 

of Gavelier and Jouffroy; 1841- 

1905. 
Bartholdi,Frid.-Aug., Fr.8., Colmar ; 

1834-1905. 
Bortholomi, Paul Alb. , Fr. 8., Thi- 

verval; b. 1818. 
Bartolorneo (Era), Baccio delta Por- 
ta, Flor. P. ; 1475-1517. 
liarye, Ant. -Louis , F 'r. 8., pupil of Bo- 
Bio and Gros ; 1796-1875. 
Bashkirtseff, Marie, Rus3. P. ; 1860-84. 
Basxano, Jacopo (da Ponte), Ven. P. ; 

1510-92. 
— , Francesco (da Ponte), Ven. P , son 

of the last; 1548-90. 
Bastien-Lepage , /., Fr. P., Damvil- 

lers (Meuse); 1848-84. 
Baudouin, Pierre- Ant., Fr. P., Paris, 

pupil of Boucher; 1723-69. 
Baudry, Paul-Jacq.-Aimt, Fr. P., La 

Roche-Bur-Yon , pupil of Sartoris 

and Drolling; 1828-86. 
Beauneveu Andre" ^ Fr. S. & P., Valen- 
ciennes; 2nd half of 14th century. 
Fiellangi, Jos. -Louis-Hipp., Fr. P., 

pupil of Gros; 1800-66. 
— , Eug., Fr. P., Rouen, son of the 

last; 1835-95. 
Bellini, Qentile, Ven. P.; 1427-1507. 
— , Giovanni, Ven. P., brother of the 

last; 1428-1516. 
Beltraffio or Boltraffio, Giov.-Ant., 

Milanese P., pupil of L. da Vinci ; 

1467-1516. 
Benouville, Franc.-L4on, Fr. P., Paris, 

pupil of Picot ; 1821-59. 
Btrain, Jean, A. and draughtsman, 

St. Mihiel (Meuse); 639-1711. 
Berettini, see Cortona. 



448 



LIST OF ARTISTS. 



Berchem or Berghem,Nic, Dutch P., 

Haarlem; 1620-83. 
Bertin,Frangois-Edouard, Fr.P. , Paris ; 

1797-1871. 
Besnard, Paul-Albert, Fr. P., Paris: 

b. 1849. 
Biard, Pierre, A. & S., Paris: 1559- 

1609. 
Bida, Alex., Fr. P., Toulouse, pupil 

of Delacroix ; 1813-95. 
Billotte, Rent, Fr. P., Tarbes; b. 1846. 
Blondel, Merry-Jos., Fr. P., Paris. 

pupil of Regnault ; 1781-1853. 
Boccador (II), see Cortona. 
Boilly, Louis-Liop., Fr. P. ; 1761-1845. 
Bol, Ferd., Dutch P., Dordrecht, 

pupil of Rembrandt ; 1616-80. 
Bologna, Qiov. da, also called Jean 

(de Bologne) and Juan de Douai, 

S., Douai, pupil of Michael Angelo ; 
1524-1608. 
Bonheur, Rosa, Fr. P., Bordeaux: 

1822-99. 
Bonifazio or Bonifacio, three Ven. 

painters-, ca. 1540-1580. 
Bonington, Richard Parkes, Engl. P., 

resident at Paris; 1801-28. 
Bonnassieux, Jean-Marie, Fr. S., pupil 

of Dumont; 1810-92. 
Bonnat, Lion, Fr. P., Bayonne, pupil 

of Cogniet; b. 1833. 
Bontemps,Pierre,Fr.S., Paris;16th cent. 
Bordone, Paris, Ven. P.; 1500-71. 
Borgognone, Ambrogio da Fossano, 

Mil. P. ; flourished in 1486-1523. 
Bosio, Fr.-Jos., S., Monaco, pupil of 

Pajou; 1769-1845. 
Botticelli, Aless. or Sandro (Filipepi), 

Flor. P.-, 1446-1510. 
Bouchardon, E., Fr. S., Chaumont, 

pupil of the younger Coustou ; 1698- 

1762. 
Boucher, Frang. , Fr. P., pupil of 

Franc. Lemoine; 1703- "0. 
Bouguereau, Ad.-Wm., Fr. P., La 

Rochelle, pupil of Picot ; 1825-1905. 
Boule or Boulle, Andre" - Charles, Fr. 

cabinet-maker, Paris; 1642-1732. 
Boulogne, Bon, or de Boullongne, Fr. 

P., Paris; 1649-1717. 
— , Louis, Fr.P., brother of the last ; 

1654-1733. 
Boulongne, see Valentin. 
Bourdais, Jules-D&siri, Fr. A., Brest: 

b. 1835. 
Bourdkhon, Jean, Fr. P., Tours : ca. 

1457- ca. 1521. 
Bourgeois, Charles- Arthur, Fr.S., Dij on, 

pupil of Duret and Guillaume ; 

1838-87. 
Bourguignon (Le), see Courtois. 
Brascassat, Jacques-Raymond, Fr. P., 

Bordeaux: 1804-67. 



Breton, Jules, Fr. P., pupil of Drol- 
ling; 1827-1906. 
— , Emile, Fr. P., brother and pupil 

of the last; 1831-1902. 
Breughel, see Brueghel. 
Brion, Oustave, Fr. P., Vosges ; 1824- 

1877. 
Briot, Frang., engraver, Damblain 

(Lorraine); ca. 1560-after 1600. 
Brongniart, Alex.-Thiod., Fr. A., 

Paris; 1739-1813. 
Bronzino, Angelo di Cosimo, Flor. P.; 

c. 1502-72. 
Brouwer, Adr., Flem. P.,Oudenaarde; 

c. 1605-38. 
Bruant, Liberal, Fr. A. ; d. 1697. 
Brueghel, Peeter, orBrueghel the Elder 

('■Peasant BruegheV), Flem. P., 

Breda; c. 1525-69. 
— Jan, surnamed '■Velvet BruegheV, 

Flem. P., Brussels, son of the last; 

1568-1625. 
Bullant, Jean, Fr. A. ; c. 1515-1578. 
Buonarroti, see Michael Angelo. 

Cabanel, Alex., Fr. P., Montpellier, 

pupil of Picot; 1823-89. 
Cabat, Louis, Fr. P., Paris; 1812-93. 
Caf fieri, J. -J., Fr.S., Paris; 1725-92. 
Cain, Aug., Fr. S., Paris, pupil of 

Rude; 1822-94. 
Caliari, see Veronese. 
Callet, Ant.-Frangois, Fr. P., Paris; 

1741-1823. 
Callot, Jacques, etcher, Nancy; 1592- 

1635. 
Canova, Ant., Ital. S. ; 1757-1822. 
Caravaggio, Michelangelo Amerighi 

da, Lomb., Rom., & Neap. P. ; 1569- 

1609. 
Carolus-Duran, Fr. P., Lille, pupil of 

Souchon; b. 1837. 
Carpeaux, Jean-Bapt., Fr. S., Valen- 
ciennes, pupil of Rude and Duret; 

1827-75. 
Carracci , Lodovico , Bol. P. ; 1555- 

1619. 
— , Agostino, Bol. P., cousin of the 

last; 1558-1601. 
— , Annibale, Bol.P. , brother of Agosti- 
no, pupil of Lodovico ; 1560-1609. 
— , Ant., Bol. P., son of Agostino, 

pupil of Annibale; 1583-1618. 
Carrier-Belleuse, Alb.-Em., Fr. S., 

pupil of Dav. dAngers ; 1824-87. 
Carriere, Eugene, Fr. P., Gournay 

(Seine-et-Marne), pupil of Cabanel ; 

1849-1906. 
Carries, Jean, Fr. S. and potter, 

Lyons; 1856-94. 
Carrucci, see Pontormo. 
Cartellier, Pierre, Fr. S., Paris ; 1757- 

1831. 



LIST OF ARTISTS. 



449 



Cavelier, Pierre-Jules, Fr. S., Paris, 

pupil of David d 1 Angers; 1814^94. 
Cazin, Jean- Charles, Fr. P., Samer; 

. 1841-19U1. 
Cellini, Benvenuto, Flor. S. and gold- 
smith; 1500-72. 
Cesari, Oius., surnatned J7 Giuseppino 

or Cavaliere oVArpino, Rom. P. ; c. 

1660-1640. 
Chalgrin, J.-Fr.-The'r., Fr. A., Paris, 

ptipil of Servandoni; 1739-1811. 
Chambiges, Pierre, two Fr. A. of the 

16th cent.; the elder d. 1544. 
Champaiqne, Phil, de, P., Brussels, 

studied at Paris; 1602-74. 
Chaplain, Jules-CUment, Fr. medallist, 

Mortagne; b. 1839. 
Chaplin, Charles, Fr. P., Les Andelys : 

1825-91. 
Chapu, Henri, Fr. S., pupil of Pradier 

and Duret; 1833-91. 
Chardin, J.-B. Simeon, Fr. P., Paris ; 

1699-1779. 
Charlet, Nicolas, Fr. P., Paris ; 1792- 

1845. 
Chartran, Thiob., Fr. P., Besancon; 

1849-1907. 
Chasse'riau, Thiod., Fr. P., Samana 

(Span. America), pupil of Ingres; 

1819-56. 
Chatrousse, E., Fr. S., Paris, pupil of 

Rude; 1829-96. 
Chaudet, Ant.-Denis, Fr. S., Paris; 

1763-1810. 
Chenavard,Paul, Fr.P., Lyons ; 1808-95. 
Chinard, Joseph, Fr. S., Lyons ; 1756- 

1813. 
Chintreuil, Ant., Fr. P. ; 1816-73. 
Cima, see Conegliano. 
CUsinger, J.-B.-Aug., Fr. S., Besan- 
con; 1814-83. 
Clodion, Claude-Michel, Fr. P., Nancy; 

1738-1814. 
Clouet, Jean, Fr. P. ; c. 1485-1541. 
Clouet or Cloet, Franc., sum. Janet or 

Jehannet, Fr. P., Tours, son of the 

last; c. 1510-72. 
Cochin, Charles- Nicolas, the Younger, 

engraver on copper and etcher, 

Paris; 1715-90. 
Cogniet, Lion, Fr. P., Paris, pupil of 

Guerin; 1794-1880. 
Coignet, Jules-Louis- Philippe, Fr. P., 

Paris, pupil of Bertin : 1798-1860. 
CoZom&e,McAeZ,Fr.S.,Tours;1431-1512. 
Comte, Ch., Fr. P., Lyons; b. 1815. 
Conegliano, Cima or Qiov. Batt. da, 

Ven. P. ; 1459-1517. 
Constable, B.A.J., Engl. P.; 1776- 

1836. 
Constant, Benjamin,Yr. P., Paris, pupil 

of Cabanel ; 1845-1902. 
Cormon, Fernand, Fr. P., Paris ; b. 1845. 
Baedeker. Paris. 16th Edit. 



Cornu, Sib.-Melch., Fr. P., Lyons, 

pupil of Ingres; 1804-71. 
Corot, J.-B.-Camille, Fr. P., Paris; 

1796-1875. 
Correggio. Ant. Allegri da, Lomb. P.; 

1494-1534. 
Cortona, Domenicho da fsurn. IlBocca- 

dor), Ital. A. ; d. 1549 , in Paris. 
— , Pietro Berrettini da, Flor. A. and 

P. ; 1596-1669. 
Cortot, Jean-Pierre, Fr. S., Paris ; 

1787-1843. 
Costa, Lor., Ferr. P. ; 1460-1535. 
Cotte, Rob. de, Fr. A., Paris ; 1656-1735. 
Cottet, Ch., Fr. P., LePuy (Gironde); 

b. 1863. 
Couder, Louis- Ch.- Aug., Fr.P., Paris, 

pupil of David «fe Regnault ; 1789- 

1873. 
Courbet, Gustave , Fr. P., Ornans 

(Doubs); 1819-77. 
Court, Jos.-Dis., Fr. P., Rouen, pupil 

of Gros ; 1798-1865. 
Courtois, Jacq., le Bourguignon, Fr. 

P.; 1621-76. 
— , Gust.-C.-E., Fr. P., Pusey ; b. 1852. 
Cousin, Jean, Fr. P., S., A., & en- 
graver; ca. 1500-89. 
Coustou, Nic, Fr. S., Lyons, pupil of 

Coyzevox; 1658-1733. 
— , Quill., Fr. S., Lyons, brother of 

the last and pupil of Coyzevox; 

1677-1746. 
— , Quill., Fr. S., Paris, son of the 

last; 1716-77. 
Couture, Thomas, Fr.P., Senlis, pupil 

of Gros & P. Delaroche ; 1815-79. 
Coypel, Noil, Fr. P., Paris; 1628-1707. 
— , Ant., Ft. P., eldest son of the last ; 

1661-1722. 
— , Ch.-Ant.. Fr. P., son and pupil of 

the last; 1694-1752. 
Coyzevox or Goysevox, Ant., Fr. S., 

Lyons ; 1640-1720. 
Crauk, Oust., Fr. S., Valenciennes, 

pnpil of Pradier; 1827-1906. 
Credi, Lor. di, Flor. P. ; 1459-1537. 
Cuyp or Cuijp, Aalberl, Dutch P., 

Dordrecht; 1605-91. 
Curzon, Paul-Alf.de, Fr.P., Poitiers, 

pupil of Drolling &Cabat; 1820-96. 

Dagnan-Bouveret, Pascal- Adolphe- Jean, 

Fr.P., Paris; b. 1852. 
Dalou, Jules, Fr. S., Paris; 1838-1902. 
Dampt, Jean-Aug., Fr. S., Venarey 

(Cdte-d'Or); b. 1858. 
Daubigny, Ch.-Franc., Fr. P., Paris, 

pupil of P. Delaroche; 1817-78. 
David, G&rard, Flem. P., Ouwater; 

1450?-1524. 
— , Jacques-Louis, Fr. P., Paris, pupil 

of Vien; 1748-1825. 

29 



450 



LIST OF ARTISTS. 



David d* Angers, Pierre- Jean David,Fr. 

S., Angers; 1789-1856. 
Davioud, Gabr.- Jean- Ant. ,Fr. A . .Paris ; 

1824-81. 
Delay, J.-B.,Ft. 8., Malines, pupil of 

Chaudey; 1779-1863. 
Debrosse, or de Brosse, /Salomon, Fr. A., 

Verneuil (Oise); d. 1627. 
Debucourt, L.-Ph., Fr. P., Paris; 1755- 

1832. ' 
Decamps, Alex.-Gabr., Fr. P., Paris; 

1803-60. 
Degas, Edgard, Fr. P., Paris ; b. 1834. 
Delacroix, Eug., Fr. P., Charenton, 

pupil of P. Guerin ; 1798-1863. 
Delaplanche, Eug., Fr. S., Paris, pupil 

of Duret; 1836-91. 
Delaroche, Paul, Fr. P., Paris, pupil 

of Gros ; 1797-1856. 
Delaunay, Elie, Fr. P., Nantes, pupil 

of H. Flandrin; 1828-91. 
Delorme, or deTOrme, Philibert, Fr. 

A., Lyons; 1515-70. 
Desbois, Jules, Fr. S., Pareay; b. 1S51. 
Deseine,L.-P., Fr.S., Paris; 1759-1S22. 
Desjardins, Martin (van den Bogaert), 

Fr. S.; 1640-94. 
Desportes, Frangois, Fr.P.; 1661-1743. 
— , Claude-Franc., Fr. P.. son and 

pupil of the last; 1695-1774. 
Detaille, Edouard, Fr. P., Paris, pupil 

of Meissonier; b. 1848. 
Deviria, Eug., Fr. P., Paris, pupil of 

Girodet; 1805-65. 
Diaz de la Pena, Ifarcisse , Fr. P., 

Bordeaux; 1S07-76. 
Didbolt, Georges, S., Dijon, pupil of 

Ramey and Dumont; 1816-61. 
Domenichino, Domenico Zampieri, Bol. 

P., pupil of the Carracci; 15S1-1641. 
Do?iatello(Donato),Flov.S. -, 1386-1466. 
Dori, Gustave, Fr. 1'. & designer, 

Strassburg; 1832-83. 
Dosso (II), Giov. Lutero, also called 

Dosso Dossi, Ferr. P. ; c. 1479-1542. 
Dou or Dow, Gerard, Dutch P., Ley- 
den; 1613-75. 
Douai, Jean de, see Bologna. 
Drevet, Pierre, two engravers, father 

and son, of Lyons; 1664-1738,1697- 

1739. 
Drolling, Martin, Fr.P., Alsace; 

1752-1817. 
— , Michel- Martin , Fr.P., son of the 

last and pupil of David; 17S6-1851. 
Drouais , Fr.-Hub. , Fr. P. , Paris ; 

1727-75. 
Duban, Fil.-Louis-Jacq., Fr. A., Paris; 

1797-1870. 
Dubois, Paul, Fr. S. , Nogent-sur- 

Seine; 1829-1905. 
Dubufe, Louis-Edouard, Fr. P., Paris, 

pupil of P. Delaroche; 1820-83. 



Dubufe, Ed.-M.-Guill., Fr. P., son of 
the last; b. 1853. 

Due, Jos.-Louis, Fr. A.; 1802-79. 

Du Cerceau or Ducerceau, Jacques 
Androuet, Fr. A.; 1540-1580? 

Ducq, Jan le, Dutch P., The Hague; 
1636-95. 

Duez, Ernest, Fr. P., Paris; 1843-96. 

Dugliet, Gasp., see Poussin. 

Dujardin or Du Jardin, Karel, Dutch 
P., Amsterdam; 1622-78. 

Dumont, Jacques-Edme, Fr. S., Paris, 
pupil of Pajou; 1801-84. 

Dupaly, Louis, Fr. S., Bordeaux; 
1771-1825. 

Duprt, Jules, Fr. P., Nantes ; 1812-89. 

Dupuis, Daniel, S. and medallist, 
Blois; 1849-99. 

Duquesnot/, Francois, Flem. S., Brus- 
sels; 1594-1646. 

Duran, see Carolus-Duran. 

Duret, Francisque, Fr. 8., Paris, pupil 
of Bosio; 1804-65. 

Duval-le- Camus, Jules-Alex., Fr. P., 
Paris, pupil of P. Delaroche and 
Drolling; 1817-77. 

Dyck, Antonius van, Flem. P., Ant- 
werp, pupil of Rubens; 1599-1641. 

Etex, Ant., Fr. S., P., & A., Paris, 
pupil of Dupaty, Pradier, and In- 
gres ; 1810-88. 

Eyck, Jan van, leader of the earlv 
Flem. school, P.; after 1380-1440. 

Fabriano, Gentile da, Umbr. P. ; c. 

1370-1428. 
Falconet, Etienne- Maurice, Swiss S., 

Vevey; 1716-91. 
Falguiere, Jean- Alex. -Jos. Fr. 8., & 

P., Toulouse, pupil of Jouffroy: 

1831-1900. 
Fantin-Latour, Henri, Fr. P., Grenoble ; 

1836-1904. 
Fir on, Firmin-Eloi, Fr. P., Paris, 

pupil of Gros; 1802-76. 
Ferrari, Gaudenzio, Lomb. P. ; 1471?- 

1546. 
Feyen-Perrin, Aug., Fr. P., pupil of 

L. Cogniet and Yvon; 1829-88. 
Fictoor or Victoor, Jan, Dutch P., 

pupil of Rembrandt ; ca. 1620-after 

1672. 
Fiesole, Fra Angelico da, see Angelico. 
— , Mino da, Flor. S. ; 1431-84. 
Filipepi, see Botticelli. 
Flameng, Frang., Fr. P., Paris, pupil 

of Cabanel, J. P. Laurens, etc. ; b. 

1859. 
— , Marie- Aug., Fr. P., Jouy-aux- 

Arches (near Metz), pupil of Du- 

bufe , Puvis de Chavannes , etc. ; 

1843-93. 



LIST OF ARTISTS. 



451 



Flandrin, Hippolyte, Fr. P., Lyons, 

pupil of Ingres-, 1809-84. 
— , Paul. Fr. P., Lyons, brother of 

the last; 1811-1802. 
Flinck, Govert, Dutch P., Cleve, pu- 
pil of Rembrandt; 1615-60. 
Fontaine, Pierre-Franc. -Lion., Fr. A., 

Pontoise; 1762-1853. 
Fouquet or Foucquet, Jean, Fr. P., 

Tours; C.1415-C. 1480. 
Foyatier, Denis, Fr. S. ; 1793-1863. 
Fragonard, Jean-Honore". surnamed 

Frago, Fr. P., Grasse, pupil of 

Boucher; 1732-1806. 
— , Alex.-Evariste, Fr. P., son of the 

last; 1783-1850. 
Francais, Franc. -Louis, Fr. P., Plom- 

bieres, pupil of Corot and Gigoux; 

1814-97. 
Franceschi, J., Fr. S. , Bar-sur-Aube, 

pupil of Rude; 1825-93. 
Francheville or Franqueville, Pierre, 

Fr. S., Cambrai, pupil of Giov. da 

Bologna; 1548-1618? 
Francia, Franc. (Raibolini), Bol. P. 

& S. ; 1450-1517. 
Franciabigio, Francesco Bigio, Flor. P.; 

1482-1525. 
Franck or Francken, Fr„ the Elder, 

Flem. P.; 1542-1616. 
— , Fr., the Younger, Flem. P., son 

and pupil of the last; 1581-1642. 
Frdmiet, Emm., Fr. S., Paris, pupil of 

Rude; b. 1824. 
Friminet, Martin, Fr. P., Paris ; 1567- 

1619. 
Froment, Nic, Fr. P., Avignon; 15th 

century. 
Fromentin, Eug., Fr. P., La Rochelle, 

pupil of Cabat; 1820-76. 
Fyt, Jan, Flem. P., Antwerp; 1611-61. 

Gabriel, Jacques- Ange, Fr.'A.; 1710-82. 
Gaillard; Ferd., Fr. engraver, Paris; 

1834-87. 
Gallail, Louis, Belg. P., Tournai; 

1810-87. 
Galli, Emile, artist in glass and cabin- 
et-making, Nancy, 1846-1904. 
Gardet, Georges, Fr. S., Paris; b. 

1863. 
Gamier, Ch., Fr. A., Paris; 1825-88. 
Garofalo(Il), Benv. Tisio, Ferr. P.; 

1481-1559. 
Gatteaux, J.-E., Fr-.S., Paris ; 1788-1881. 
Gellie (CI.), see Lorrain. 
Girard, Franc., Baron, Fr. P., pupil 

of David; 1770-1837. 
Giricault, Thiodore, Fr. P., Rouen, 

pupil of Guenn ; 1791-1824. 
Gtrdme, Lion, Fr. P. & S., Vesoul; 

1824-1904. 
Gervex, Henri, Fr. P., Paris; b. 1852. 



Ghirlandaio, Dom. Bigordi, Flor. P. ; 

1449-94. 
— , Ben., Flor. P., brother and pupil 

of the last; 1458-97. 
— , Ridolfo, Flor. P., son of Dom. G. ; 

1483-1561. 
Gigoux, Jean-Franc., Fr. P., Besan- 

con; 1809-94. 
Giocondo, Fra Giovanni, Ital. A., 

Verona; 1435-1515. 
Giordano, Luca, surnamed Fapresto, 

Neap. P.; c. 1632-1705. 
Giorgione (II) , Giorgio Barbarelli, 

Ven. P.; 14777-1510. 
Girardon, Franc., Fr. S., Troyes ; 

1628-1715. 
Giraud, Pierre-Franc. -Eug., Fr. P., 

Paris; 1806-81. 
— , m.-Ch., Fr. P., Paris; 1819-92. 
— , Victor, Fr. P., Paris, pupil of Picot 

and Eug. G. (his father) ; 1840-71. 
Girodet - Trioson (Anne-Louis Girodet 

de Roucy - Trioson) , Fr. P., Mon- 

targis, pupil of David ; 1764-1824. 
Glaize , Aug.-Barth., Fr. P., Mont- 

peliier, pupil of Deveria ; 1812-93. 
— , P. -P. -Lion, Fr. P., Paris, son of 

the preceding, pupil of his father 

and of Ge'rome; b. 1842. 
Gleyre, Charles - Gabriel , Swiss P., 

Chevilly; 1807-76. 
Gossaert, see Mabuse. 
Goujon, Jean, Fr. S. & A., Paris; 

c. 1515-c. 1565. 
Goyen, Jan van, Dutch P., Leyden ; 

1596-1656. 
Gozzoli, Benozzo, Flor. P. ; 1420-97. 
Greuze, J.-B., Fr. P. , Tournus ; 1725- 

1805. 
Grot, Ant.-Jean, Baron, Fr. P., Paris, 

pupil of David; 1771-1835. 
Gudin, Tldod., Fr. P., Paris, pupil 

of Girodet ; 1802-80. 
Guercino (II), Giov. Franc. Barbieri, 

Bol. & Rom. P. ; 1591-1666. 
Guirin, Gilles, Fr. P., Paris; 1G06-78. 
— , Pierre-Narc, Baron, Fr. P.. Paris, 

pupil of J.-B. Regnault; 1774-1833. 
Guido Rent, Bol. P. ; 1575-1642. 
Guillain, Simon, Fr. S. & engraver, 

Paris; 1581-1658. 
Guillaume, Eug., Fr. S., Montbard, 

pupil of Pradier; 1822-1905. 
Guillaumet, Gust., Fr. P., Paris, pupil 

of Picot and F. Barrias; 1840-87. 
Gumery, Ch.-Alph., Fr. S., Paris; 

1827-71. 

TLals, Frans, Dutch P.; c. 1580-1666. 

Ramon, J.-L., Fr. P., St. Loup, pupil 
of Delaroche & Gleyre; 1821-74. 

Harpignies , Henri, Fr. P., Valen- 
ciennes, pupil of Achard; b. 1819. 

29* 



452 



LIST OF ARTISTS. 



Bibert , Ernest, Fr. P., Grenoble, 

pupil of P. Delaroche; b. 1817. 
Heem , Jan Davidt de , Duteb P., 

Utrecht 5 1606-1683 or 84. 
Beim, Franc.-Jos., Fr. P., Belfort, 

pupil of Hersent; 1787-1865. 
Heist , Barth. van de?*, Dutch P., 

Haarlem; 1613-70. 
Benner, J. -J., Fr. P., Alsace, pupil of 

Drolling and Picot 5 1829-1905. 
Berrera. Franc, the Elder, Span. P.: 

c. 1576-1656. 
Bersent, Louis, Fr. P., Paris, pupil 

of J.-B. Regnault; 1777-1860. 
Besse, Alex. -J.-B., Fr. P., Paris, pupil 

of Gros 3 1806-79. 
— , Nic.-Aug., Fr. P., Paris, pupil of 

Gros; 1795-1869. 
Biolle, Ern.-Eug., Fr. S., Valen- 
ciennes, pupil of Jouffroy ; 1834-86. 
Bittorff,Jac.-lgn.,k., Cologne, pupil of 

Fr.-Jos.BellangerinParis;1793-1867. 
Bobbema, Meindert, Dutch P., Am- 
sterdam •, 163S-1709. 
Bolbein, Bans, the Younger, Ger. P., 

Augsburg ; 1497-1543. 
Bondecoeter, Melckior d\ Dutch P., 

Utrecht; 1636-95. 
Bonthorst, Gerard van, Dutch P., 

Utrecht-, 1590-1656. 
Booch or Boogh, Pieter de, Dutch P., 

Utrecht; 1630-c. 1677. 
Boudon, Jean-Ant., Fr. S., Versailles; 

1741-1828. 
Buet, Jean-Bapt., Fr. P., pupil of Le- 

prince; 1745-1811. 
— , Paul, Fr. P., Paris, pupil of 

Gue'rin and Gros: 1804-69. 

Ingres, J.-A.-Dom., Fr. P., Montau- 
ban, pupil of David; 1780-1867. 

Isabey, Louis- Qab.-Eug., Fr. P., Paris, 
pupil of his father, J.-B. Isabey, 
the designer; 1S04-86. 

Sacquemart, Mile. Nilie, Fr. P., Paris, 

pupil of Cogniet; b. 1845. 
Janet, see Clouet. 
Jobbi-Duval, Armand-Marie-Fil , Fr. 

P., pupil of P. Delaroche ; 1821-89. 
Jordaens, Jacob, Flem. P., Antwerp ; 

1593-1678. 
Jouffroy, Franc., Fr. S., Dijon, pupil 

of the younger Ramey; 1806-82. 
Jouvemt, Jean, Fr. P., Rouen; 1644- 

1717. 
Jundl. Gustare, Fr. P., Strassburg; 

1830-81. 
Juste de Tours (Jean Betti), one of 

a family of Flor. S. settled in 

France in the 15-16th centuries. 

Kaufmann, Angelica, Swiss P., Coire ; 
1741-1807. 



Keller, two brothers of Zurich, bronze- 
founders at the court of Louis XIV. 

Labrouste , Pierre- Franc.-Benri, Fr. 

A.; 1801-75. 
Lafosse or La Fosse, Ch. de, Fr. P., 

Paris ; 1636-1716. 
Lancrel, Nicolas, Fr. P., Paris; 1690- 

1743. 
Largilliere, Nic, Fr. P., Paris; 1656- 

1746. 
Lariviere, Phil.-Ch. de, Fr. P., Paris, 

pupUof Guerin, Girodet, and Gros: 

1798-1876. 
Lassus, J.-B.-Ant., Fr. A., Paris: 

1S07-57. 
Latour, Quentin de, Fr. pastellist; 

1704-88. 
Laurens, Jean - Paul, Fr. P., Four- 

queva-ix (Hte.-Gar.); b. 1838. 
Le Brun or Lebrun, Ch., Fr. P., Pa- 
ris, pupil of S. Vouet; 1619-90. 
— , Elis. -Louise Yigie (Mme.). Fr. P., 

Paris; 1755-1842. 
Lefebvre, Jules, Fr. P.; b. 1S36. 
Lefuel, Sector- Martin, Fr. A., Ver- 
sailles ; 1810-81. 
Legros VAncien, Pierre, Fr. S., Char- 

tres; 1629-1714. 
Lehinann, Henri, P., Kiel, pupil of 

Ingres; 1814-82. 
Le Bongre, Et., Fr. S., Paris; 162S-90. 
Lehoux, P., Fr. P., Paris; 1841-96. 
LeleuXjAdolphe^r.F.^HTis; 1812-91. 
— , Armand, Fr. P., Paris, pupil of 

the last and of Ingre3 ; 1818-85. 
Lemaire, Phil.-Benri, Fr. S., Valen- 
ciennes, pupil of Cartellier; 1798- 

1SS0. 
Lemercier, Jacques, Fr. A., Pontoise: 

1585-1654. 
Lemoine. Fr., Fr. P., Paris; 16S8-1737. 
Lemot, Francois-Fr&d&ric, Fr.S., Lyons: 

1773-1827. 
Lemoyne, J.-B., Fr. S., Paris ; 1704-78. 
Le Wain, Louis, Antoine, and Mathieu, 

Fr. P. of the 17th century. 
Lenepveu, Jttles-Eug., Fr. P., Angers, 

pupil of Picot ; 1819-9S. 
Le N6tre or Lendtre, Andri, A. and 

landscape-gardener, Paris; 1613- 

1700. 
Lepautre, Jean, designer; 1617-82. 
— , Pierre, Fr. S., Paris; 1669-1744. 
Lepere, J.-B., Fr. A., Paris; 1762- 

1841. 
Leprince, A.-Xavier, Fr. P., Paris; 

1799-1826. 
Leroux, Eug., Fr. P., Paris, pupil of 

Picot; b. 1833. 
— , Jacques, Fr. A., Rouen; d. 1510. 
— , Bo' land or Roullint,Yr. A., Rouen, 
nephew of the last; d. 1527. 



LIST OF ARTISTS. 



453 



Lescot, Pierre, Fr. A., Paris; 1510-78. 
Le Sueur or Lesueur^ Eustache, Fr. P., 

pupil of Vouet; 1617-55. 
Lethiere, Guill.-Guillon, Fr. P., pupil 

of Doyen ; 1760-1832. 
Levau, Louis, Fr. A.; 1612-70. 
L&vy, Em., Fr. P., Paris, pupil of A. 

de Pujol and Picot; 1826-90. 
Lhermitle, Lion, Fr. P., Mont-St-Pere 

(Aisne); b. 1814. 
Limosin or Limousin, Leonard, ena- 

meller, Limoges; b. ca. 1505, d. 

between 1575 and 1577. 
Lippi, Era Filippo, Flor. P. ; 1412-69. 
Livensz or Livens, Jan, Dutch P., 

Leyden; 1607-74. 
Loo, van, see Vanloo. 
Lorrain, Claude GelUe, surn. Le L., 

Fr. P., studied in Italy; 1600-82. 
Luini, Bern., Lomb. P.; c. 1470-c. 

1530. 
Luminais,E.- F.,Fr.P.,Nantes ; 1821-86. 

VLabuse, Jan van, or Gossaert, Flem. 

P., Maubeuge; c. 1470-1541. 
Maes or Maas, Nic. , Dutch P., 

Dordrecht; 1632-93. 
Maiano, Ben. da, Flor. A. & S.; 

1442-97. 
Maillet, Jacques-Lion., Fr. S., Paris, 

pupil of Pradier; 1823-94. 
Mainardi, Sebastiano, Flor. P.; d. 

1513. 
Maindron, Et.-Eipp., Fr. S., pupil of 

David dangers; 1801-84. 
Manet, Edouard, Fr. P., Paris ; 1833-83. 
Mansart or Mansard, Franc., Fr. A., 

Paris; 1598-1666. 
— , Jules-Hardouin , Fr. A., Paris, 

nephew of the last; 1645-1708. 
— de Jouy, Jean-Hardouin, Fr. A.: 

b. ca. 17C6. 
Mantegna, Andrea, P. of Padua and 

Mantua; 1431-1506. 
Marcellin, Jean-Esprit , Fr. S., Gap, 

pupil of Rude ; 1821-84. 
Marilhat, Prosper, Fr. P., Auvergne, 

pupil of C. Roqueplan; 1811-47. 
Marochetti, Ch., S., Turin, pupil of 

Bosio; 1805-67. 
Marqueste, Laurent, Fr. S., Toulouse; 

b. 1850. 
Marsy , Balth. & Gasp., two Fr. 

sculptors of Cambrai; 1624-74 & 

1628-81. 
Matout, Louis, Fr. P., Charleville; 

1813-88. 
Matsys or Massy s, Quinten or Quen- 

tin, FJem. P., Louvain; 1466-1530. 
Mauzaisse, J. B., Fr. P., Corbeil, 

pupil of Vincent; 1784-1844. 
Meer, Jan van der, ( Vermeer) of Haar- 

lem, Dutch P.; 1628-91. 



Meer, J. van der, ( Vermeer) of Delft, 

Dutch P.; 1632-75. 
Meissonier, Err est, Fr. P., Lyons; 

1815-91. 
— , Juste- AurUe, A., S., P., <fe designer ; 

b. 1695 at Turin, d. 1750 at Paris. 
Minard, Rent, Fr. P., Paris; b. 1863. 
Mercii, Antonin, Fr. S., Toulouse, 

pupil of Jouffroy & Falguiere; b. 
1845. 

Merson, Luc- Olivier, Fr. P., Paris; 
d. 1816. 

Messina, Antonello da, Ven. and Sici- 
lian P. ; d. c. 1493. 

Metsu, Gabriel, Dntch P., Levden; 

c. 1630-67. 

Meulen, Ant.-Fr. van der, Flem. P., 

Brussels : 1634-90. 
Meuw'er, Consiantin, Belg. S. & P., 

Biussels; 1831-1905. 
Meynier, Ch., Fr. P., Paris, pupil of 

Vincent; 1768-1832. 
Michael Angelo Buonarroti, Flor. & 

Rom. A., S., <fe P.; 1475-1564. 
Mieris, Frans van, the Elder, Dutch 

P.; 1635-81. 
— , Willem van, Dutch P., Leyden, 

son of the last ; 1662-1747. 
Mignard, Pierre, Fr. P., Troyes; 

1612-95. 
Millet, Jean- Franc., Fr. P., Gruchy 

(near Gre"\ille), pupil of P. Dela- 

roche; 1814-75. 
— , Aimi, Fr. S., Paris, pupil of Da- 
vid d 1 Angers; 1819-1891. 
Mino da Fiesole, see Fiesole. 
Monet, Claude, Fr. P., Paris, b. 1840. 
Montereau, Pierre de, Fr. A. ; d. 

1266. 
Mor, Moor, or Moro, Antonis (Sir 

A. More), Dutch P., Utrecht; c. 

1512c. 1576. 
Moreau, Gustave, Fr. P., Paris, pupil 

of Picot ; 1826-98. 
— , Louis-Gabr., P., Paris ; 1740-1806. 
— , Mathurin, Fr.S., Dijon, pupil of Ra- 

mey and Dumont; b. 1822. 
Moreau- Vauthier, Aug., Fr. S., Paris ; 

1331-93. 
Monl, Jacques, Fr. A., Montpellier; 

d. at Angers 1459. 

Moltez , Victor-Louis , Fr. P., Lille, 

pupil of Picot; 1809-92. 
Miiller, Ch. -Louis, Fr. P., Paris, pupil 

of Cogniet and Gros; 1815-92. 
Murillo, Bartolomi Esteban, Span. P.; 

1617-82. 

TSanteuil (Ch.- Franc.- Leboeuf), Fr. 

S., Paris, pupil of Cartellier; 1792- 

1865. 
— , Robert, engraver, Rheims; 1630- 

1698, 



454 



LIST OF ARTISTS. 



Natoire, Ch.-Jos., Fr.P., Nimes, pupil 

of Lemoine; 1700-77. 
Nattier, Jean- Marc, Fr. P., Taris-, 

1685-1766. 

Neer, Aet't ran der, Dutch P., Am- 
sterdam; 1003-77. 

Nenville, Alphense de , Fr. P., St. 
Omer, pupil of Picot; 1835-85. 

Qeben, cabinet maker; d. 1765. 

Oppenord , Gilles - Marie, Fr. A. and 
designer, Paris; 1672-1742. 

Opstal, Gerard ran, S ., Antwerp (or 
Brussels?); 1595 (or 1604?)-1688. 

Ostade, Adriaen van, Dutch P., Haar- 
lem ; 1010-85. 

— , Izack van, Dutch P., brother and 
pupil of the last; 1621-49. 

Ottin, Aug. -Louis-Marie, Fr. S., Paris, 
pupil of David d'Amjers ; 1811-90. 

Oudru, J.B., Fr.P., Paris; 1686-1755. 

Tagnest, A.-L.-Claude, Fr. P.; 1790- 

1819. 
Patou, Augustin, Fr. S., Paris, pupil 

of Lemoyne ; 1730-1809. 
Palit.il/, Bern., potter; c. 1510-15S9 

or 90. 
Palma Yecchio , Jacopo, Ven. P.; 

1480-1528. 
Papetv, Dom.-Louis-Fe're'ol , Fr. P., 

Marseilles; 1815-49. 
Pater. J.-B., Fr. t., Valenciennes; 

1695-1736. 
Piii'caud, Leonard, sumamed Xav- 

don, enameller, Limoges; c. 1470- 

after 1539. 
Percier, Ch., Fr. A., Paris ; 1764-1838. 
Perraud, Jean-Jos., Fr. S., pupil of 

Barney & Dumont; 1819-76. 
Perraul't, Claude, Fr. A., Paris; 

1613-88. 
P$rr4al } Jean , sumamed Jehan de 

Paris, A. & P.; c. 1455-C. 1528. 
Peruaino ( Pietro Vanucci), Umbr. 

& Plor. P.; 1446-1524. 
Piiilippoteaux, lien ri-Emmanuel-Fe'lix, 

Fr. P., Paris; 1815-84. 
Picot, Franc. -Ed.. Fr. P., Paris, pupil 

of Vincent; 1786-1808. 
Pigalle, J.-B., Fr. S., Paris ; 1714-85. 
Pilon, Germain, Fr. S.; 15l5?-90? 
Pils, Isid.-Adr.-Aug.. Fr. P., Paris, 

pupil of Picot ; 1815-75. 
Pinagrier, Robert, Fr. P., Touraine; 

before 1500-before 1550. 
Pinturicchio (Bernardino di Betto di 

Biagio), Umbr. P.; 1454-1513. 
Piombo, Sebast. del (Sebast. luciani), 

Ven. & Horn. P.; 1485-1547. 
Pippi, see Romano. 
Pissarro, Camille, Danish P.. St. TLo 

mas (DamshVv 7 est Indies) ; 18304903. 



Poilpol, TMoph., Fr. P., Paris ; b. 1848. 
Pointelin, August* Emmanuel, Fr. P., 

Arbois; b. 1839. 
Pontormo, Jacopo Carrucci da, Flor. 

P.; 1494-1557. 
Potter, Paul, Dutch P., Enkhuizen ; 

1625-54. 
Poussin, Gaspard, properly G. Dughet. 

Fr. P., Rome, nephew and pupil of 

the following; 1613-75. 
Poussin, Nicolas, Fr. P., Les Andelys, 

Normandy ; 1594-1665. 
Pradier, James, Fr. S., pupil of Le- 

mot; 1792-1852. 
Preault, Ant.-Augustin, Fr. S., Paris ; 

1809-79. 
Prieur, Bavth., Fr. S. ; d. 1611. 
Primaticcio , Franc, Bol. P.. settled 

in France; 1504-70. 
Protais, Paul-Alex., Fr. P., Paris; 

1825-90. 
Prud'hon, Pierre-Paul, Fr. P., Cluny ; 

1758-1823. 
Puaet, Pierre, Fr. S., Marseilles; 

1622-94. 
Pujol, see Abel de Pujol. 
Puvis de Chavannes, Pierre, Fr. P., 

Lyons, pupil of H. Scheffer and 

Couture; 1824-98. 

Raffaelli, Jean-Franc., Fr. P., Paris: 

b. 1845. 
Raffet, Jh'nis, Fr. P., Paris, pupil of 

Charlet and Oros; 1804-60. 
Raibolini, see Francia. 
Ramev, Claude, Fr. S., Dijon; 1754- 

183S. 
Raphael (Raffaello Santi or Sanzio 

da Urbino), Umbr., Flor., & Bom. 

P. & A. ; 14S3-1520. 
Raymond, Pierre, enameller; 16th 

century. 
Regnault, /.-5.,Fr.P.,Paris; 1754-1829. 
— , Henri, Fr. P., Paris, pupil ot Ca- 

banel; 1843-71. 
Rembrandt, Harmensz van Rvn, Dutch 

P., Leyden; 1606-69. 
Rent, see Gnido. 

Renoir, Firmin- Augusts, Fr. P., Li- 
moges ; b. 1841. 
Ribera , Jusepe, surnamed Lo Spag- 

noletto, Span. -Neap. P.; 158S-1656. 
Ribot, Theodule, Fr. P., Breteuil, pupil 

of Glaize ; 1823-91. 
Ricard, Louis. Fr. P., Marseilles, 

pupil of L. Cogniet ; 1824-73. 
Ricc:arelU, see Volterra. 
Richier, Ligicr, Fr. S., St. Mihiel, 

pupil of Michael Angelo; 16th cent. 
RUsener, Jean- Henri, cabinet-maker, 

aiadbachj 1734-1808. 
Rignud v Ros, Hnacinthe, Fr. P., Per- 

pignan; 1659-1743, 



LIST OF ARTISTS. 



455 



Robbia, Luca, Audi:, <fc Giov. delta, 

three Flor. sculptors of the 15-16th 

centuries. 
— , Girolamo delict. Flor. S. &A.: d. 

1566. 
Robert, Hubert, Fr. P.; 1733-1808. 
— , Louis-Llop., P., La Chaux-de- 

Fonds, pupil -of Gerard and David; 

1794-1835. 
Robert- Fleury, Jos.-Nic, Fr. P., Pa- 
ris, pupil of Girodet, Gros, and H. 

Vernet; 1797-1890. 
— , Tony, Fr. P. , Paris , son of the last 

and pupil of P. Delaroche; b. 1837. 
Robusti, see Tintoretto. 
Rochegrosse, Georges, Fr. P., Versail- 
les; b. 1859. 
Rodin, Auguste, Fr. S., Paris; b.1840. 
Roll, Alfred-Philippe, Fr. P., Paris; 

b. 1847. 
Romano, Giulio ( Pippi), Rom. & Man- 

tuan P., pupil of Raphael; 1492- 

1546. 
Rosa. Salvator, Neap. & Rom. P.; 

1615-73. 
Rosso (11) , Giovanbatlisla Rosso de 1 

Rossi, Flor. P. seitlcd in France; 

1496-1541. 
Roty , Oscar, Fr. medallist, Paris; 

b. 1846. 
Rousseau, Thiodore , Fr. P., Paris; 

1812-67. 
Rubens, Peter Paul. Flem. P., Siegen 

(Westphalia); 1577-1640. 
Rude, Franc., Fr. S., Dijon, pupil 

of Cartellier ; 1784-1855. 
Ruysdael or liuisdael, Izack van, Dutch 

P. ; d. 1677. 
■ — Jacob van, Dutch P., Haarlem, son 

of the last; 1628(29)-82. 
— , Salomon van , Dutch P., Haar- 
lem (?), brother of Izack ; c. 1600-70. 

Baint-Jean, Simon. Fr. P., Lyons; 
1808-60. 

Saint-Mar -ceaux. Rend de, Fr. S., 
Rheims; b. 1845. 

Salvi, see Sassoferrato. 

Santerre, J.-B., Fr. P., pupil of Bon 
Boulogne; 1658-1717. 

Sanli, Sanzio, see Raphael. 

Sarazin, Jacques, Fr. P. & S., Noyon; 
1588 (90?)-1660. 

Sarto, Andrea del, Flor. P. ; 1487-1531. 

Sassoferrato (Giov.-Batt. Salvi), Rom. 
P.; 1605-85. 

Scheffer, Ary. P., Dordrecht, pupil of 
Gue>in at Paris; 1795-1858. 

— , Henri, P., The Hague, brother 
of the last; 1798-1862. 

Schnetz , Jean -Victor, Fr. P., Ver- 
sailles, pupil of David, Regnault, 
Gerard, and Gros ; 1787-1870, 



Serlio, Seb.. Uol. P. Si A., in France 

after 1540; 1475-1554. 
Servandoni, Jean- Nicolas, Fr. A., 

Lyons; 1095-1766. 
Seurre, Ch.- Marie-Em., Fr. S., Paris, 

pupil of Cartellier; 1798-1858. 
Sigalon, Xavier, Fr. P., Uzes, pupil 

of P. Gu^rin; 1790-1837. 
Signal, Em., Fr. P., pupil of Blondel 

and Gros; 1804-92. 
Signorelli, Luca, Tuscan & Umbr. P. ; 

c. 1450-1523. 
Simart, Pierre-Ch., Fr. S., Troyes, 

pupil of Dupaty and Pradier ; 1806- 

1857. 
Simon, Lucien, Fr. P., Paris; b. 1861. 
Sisley, Alfred, Fr. P., Paris; 1840-99. 
Slvter, Nicolaes (Claux), S. of 14th 

cent.; d. after 1403. 
Snyders, Frans, Flem. P., Antwerp ; 

1579-1657. 
Sohier, Hector, A., Caen, 16lh century. 
Solario, Andrea, Lomb. P. ; c. 1470- 

c. 1515. 
Soufflot, Jacques- Germain , Fr. A.; 

1714-81. 
Spada, Lionello, Bol. P. ; 1556-1622. 
Spagna, Giov. di Pietro , sum. Lo 

Spagna, Span.-Umbr. P. ; d. c. 1530. 
Spagnoletto, see Ribera. 
Sleen, Jan, Dutch P., Leyden , c. 

1626-79. 
Steuben, Ch., P., Mannheim ; 1791-1856. 
Stevens, Alfred, Belg. P. at Paris; 

1828-1906. 
— , Joseph, Belg. P., -brother of ihe 

last; 1819-92, 
Subleyras, Pierre, Fr. P., "Uzes ; 1699- 

1749. 

Tassaert, Octave, Fr. P., Paris; 1800- 

1874. 
Tenters, David, the Elder, Flem. P., 

Antwerp; 1582-1649. 
— , David, the Younger, FJem. P., 

Antwerp, son and pupil of the last; 

1610-90. 
Ter Borch or Terburg, Ger., Dutch 

P., Zwolle; 1617-81. 
Timbal, Louis- Ch., Fr. P., Paris, pupil 

of Drolling and Signol ; 1821-80. 
Tintoretto, Jacopo Robusti, Ven. P., 

pupil of Titian; 1519-94. 
Titian (Tiziano Vecelli da Cadore), 

Ven. P.; 1477-1576. 
Tocqui, Louis, Fr. P. ; 1696-1772. 
Triqueti, Henri, Baron de , Fr. S.; 

1802-74. 
Troy, J.-F. de,Fr. P., Paris ; 1679-1752. 
Troyon, Constant, Fr. P., Sevres; 

1810-65. 
Tuby or Tubi, J.-B., Rom. & Fr. S.; 

1630-1700, 



/ 



456 



LIST OF ARTISTS. 



Valentin, sum. Jean de Boulongne, 

Fr, P., Ooulommiers? 1591-1634. 
Vanloo or P"«» Z»00, Jacob, Dutch P.; 

If. It -70. 
IVmJoo, Jean-Baptiste, Fr. P., Aix ; 

J 1)84-1745. 
— , Ch.-Andrt (Carle), Fr. P., Nice, 

brother and pupil of the last ; 1706-66. 
— , Louis- Michel, Fr. P., Toulon, sou 

and pupil of Jean-Baptiste \ 1707-71. 
Vanucci, see Perugino. 
Yasari, Giorgio, Flor. P., A., and art- 
historian; 1512-74. 
Fecelli. see Titian. 
Vela, Vine, Swiss S. ; 1822-91. 
Velazquez , Don Diego Kodriguez d« 

Sylva y v., Span. P. ; 1599-1660. 
Fewe, Adr. van de, Dutch P., Am- 
sterdam \ 1635-72. 
— , Willem van- de, the. Younger, P., 

brother of (he last; 1033-1707. 
Termeer, see Meer. 
Fernet, Claude-Jot., Fr. P., Avignon; 

1714-89. 
— , Ant.-Ch.-IIor. (Carle), Fr. P., 

son of the last; 1758-1836, 
— , Em.- Jean- Horace, Fr. P., son of 

Carle; 1789-1863. 
Veronese, Paolo (P. Caliari), Yen. 

P.; 1528-88. 
Yictoor or Victors, see Fictoor. 
Ft'en, J os. -Marie, Fr. P., Montpellier; 

1716-1809. 
Yinchon, Aug.-J.-B., Fr. P., Paris; 

1780-1855. 
Fine*', Leonardo- da, Flor. & Mil. P., 

S., * A.: 1462-1519. 



Vioiiet -le- Due, Kug.-hUnm., Fr, A., 

Paris; 1814-79. 
Yiseonti, Louis, A., pupil of Porcier; 

1791-1854. 

Vollon, Ant., Fr. P., Lyons; 1S33-I900. 
Yolterra, Daniele Ricciarellida, Bom. 

P. & s.; 1509-66. 
Vouet, Sim., Ft. P., Paris; 1590-1649. 
Vries, Adr. de, S., The Hague, pupil 

of Giov. oa Bologna: 150i>- after 

1608* 

Warin, Jean, Fr. medallist, Liege; 

1604-72, 
Watteau, Ant., Fr. P., Valenciennes; 

L684-1721, 
Weenix, J.-B., Dutch P., Amsterdam • 

1621-60. 
Weyden, Bogier van der, Flem. P., 

Tournai. pupil of J. Van Eyck ; 

o. 1400-64. 
Wouvennan, Phil., Dutch P., Haar- 
lem; 1619-68. 
— , Pieter, Dutch P., brother and 

pupil of the last; 1623-82. 
Wunants, Jan, Dutch P., Haarlem; 

c. 1625-82. 

Yvon, Ad., Fr. P., Eschweiler, pupil 
of P. Delaroche; 1S17-93. 

Zampieri, see Domenichino. 
Ziegler, Claude-Louis.Fr. P., Langros, 

pupil of Ingres; 1804-56. 
Ziem, Filix, Fr. P., Reaune; b. 1821. 
Zurbaran, Francisco, Span. P.; 1598- 

1662. 



INDEX. 



Abbaye aux Bois 410. 

— du Val 395. 
Abbeville 431. 
Ablon 415. 

Acherea 379. 392. 443. 
Ailly-sur-Noye 434. 

— sur-Somme 432. 
Alfort 258. 
Alfortville258.418. Appx. 

p. 48. 
Amiens 432. 
Andelys, Les 442. 
Andilly 389. 
Andrdsy 392. 
Antony 410. 413. 
Apremont 427. 
Arcueil 409. 413. 
Argenteuil 390. 
Arpajon 414. 
Arques 4:3/. 
Arras 433. 
Asniferes 339. 443. 
Athis-Mons 415. 
Aubervilliers-la-Conr- 

neuve 403. 

— Rue-St-Denie 406. 
Aubry 394. 

Auger-St- Vincent 406. 
Aulnay 410. 

— les-Bondy 406. 
Auteuil 234. Appx., p. 45. 
A avers 393. 

Avon 427. 
Avron, Mont 417. 

Bagatelle 238. 
Bagneux 408. 413. 
Bagnolet 251. 
Bailly 371. 
Ballainvilliers 413. 
Barbery 406. 
Barbison 427. 420. 
Bar en tin 446. 
Barre-Ormesaon, La 387. 
Bas-Breau 427. 

— Meudon 343. 
Beaucbamps 390. 
Beaumont 396. 
Beauregard (Chat.) 372. 

418. 
Bdcon-lea-Brayeres 340. 
Becquencourt (Chat.) 412. 



Bel -Air 255; Appx., 

p. 46. 
Belles-Fontainea (Pont 

dea) 415. 
Bellevue 344. 

— Funiculaire 311. 
Belloy 394. 
Berck 431. 
Bercy-Ceinture 418. 
Berneval 437. 
Berny 410. 

— , La Croix de 413. 
Bessancourt 395. 
Be"thune 431. 
Beuzeville 446. 
Bevillera (Chat.) 412. 
Be/.on8 311. 
BicStre 408. 

, Fort 408. 
Bievre, the 409. 
Bievres 410. 
Billancourt 344. 
Blanc-Mesnil 406. 
Boi8-de-Colombes 390. 

- le-Roi 421. 
Boisay-St-Le'ger 418. 

— sous-Yon 414. 
Bolbec 446. 
Bondy 406. 

Bonneuil-sur-Marne 418. 
Bonnieres 443. 
Bon-Secours 442. 
Boran 396. 
Bouffemont 394. 
Bougival 372. 375. 
Bouille, La 442. 
Boullay-lea-Troux 411. 
Boulogne-sur-Mer 428. 

sur-Seine 346. 
Bourg-la-Reine 409. 
Bourget, Le 406. 
Bourron 427. 
Boves 433. 
Brdaute" 446. 
Breteuil 434. 

Pav. de 347. 
Brdtigny 416. 
Briche, Fort de la 397. 
Brie-Comte-Robert 418. 
Brunoy 419. 
Bruyeres 396. 

- (Les), 251. 



Bry-sur-Marne 416. 
Bares 411. 

Oaffiers 435. 
Calais 434. 
Canaples 431. 
Canche (Baie de la) 431. 
Carnelle, Forest of 395. 
Carrierea, Lea 25i. 
— St. Denis 391. 
Caudebec 446. 
Caux, Pays de 446. 
Cayeux 431. 
Celle-St-Cloud, La 372. 
Cernay 380. 

la-Ville 412. 
Cesson 419. 
Chailly 420. 
Chalais (Pare de) 344. 
Champagne 398. 419. 
Champignol 417. 
Champigny 417. 
Champlatreux 394. 
Chantilly 397. 
Chapelle, La 380. 
Cbaponval 393. 
Charenton 258. 418. 

Appx., p. 48. 
Charonne, see Appx., 

p. 46. 
Chasse (Chateau de la 

389. 
Chateauneuf 443. 
Chatenay 410. 
Chatillon 408. 
Chatou 372. 
Chaville 348. 
Chevaleret (Le) 414. 
Chevilly 409. 
Chevreuse 411. 
Chilly-Grande-Ceinture 

413 

• Mazarin 413. 
Choisy-le-Roi 415. 
Clamart 342. 
Cleres 446. 

Clennont-de-TOise 434. 
Clichy 220. 339. 
Colombes 390. 443. 
Combs-la-Ville 419. 
Comelle, Etang de 404. 
Compans 406. 



458 



INDEX. 



Conchil-ie-Temple 481. 
Conflans 264. 

— Fin-d'Oise 392. 

— St. Honorine 891. 
Corbel! 419. 
Conneilles 390. 

— en-Pa risia 890. 
Coudray H9. 
Courbetin (Chat, de) Mi 
Courbevoie 340. 
Courcelle 411. 
Courcelles 442; Appx., 

p. 45. 
Cove 397. 

Cre'cy on-ronthiou 431. 
('roil 434. 

Crepy-en-Valois 107. 
Crotoil 417. 
Croissy 872. 
Croix-Blanche. La 400. 

— de Berny, La 413. 
Crotoy, Le 481. 

Danunarie-les Lys 420. 
Dammartin 406. 
Dampierre 412. 
Deauville 445. 
Denecourt (Tour) 42G. 
Deuil 394. 
Dieppe 430. 
Oouumt 394. 
Dompierre-sur-Authie 

431. 
Dormoir, the 427. 
Dover 484. 
Prancy 406. 
Draveil 419. 

Eaubonne 889. 
Ecouen 394. 
Elbeuf 442. 
Engeval (.Chat.) 413. 
Enghien-les Hams 887. 

Kpiuay 886. 894, 

— sui Orge 415. 
Bpluchea 393. 
Eragny-Neuville 891. 892 

Ermenonville 407. 
Ermont 889. 395. 
Esneval 446. 
Essonnea 4l;i. 
Ktauo-hi-Ville, L' 373. 
Etaples 431. 
Eu 431. 

l'vrv 419. 

Eaanville 394. 

Faieucerie, La 413. 
Faloise, La 434. 
Fleury 348. 

Folkestone 42S. 
Folleville 434. 
Foutainebleau 421. 



Fontenay-aux-Roses 40S 

— sous-Bois 416. 

— Lea-Louvres 897. 

Foutiuettes 433. 
Kourqueux 373. 
Kiam-havd 426. 

Fraaoonville 390. 394. 
Frepillon 395. 
Fresnea 410. 

— les-Rungis 413. 
Frethun 435. 

Gaillon 442. 
Garehes 372. 
Garenne, La 371. 
Games 412. 
Genneviliiera 340. 356. 
Gentillv 409. 
Gif 411. 

Girard, Monts 427. 
Giaors 48S. 
Gonesse 397. 
Goussainville 397. 
Grange, Chiit. de la 41S 

— aux-Cercles, La 414. 

— d'Ory 413. 
Gravelle 257. 
Graville 445. 
Grenelle, see Appx., p. 45, 
Gris-Ne/., Cap 435. 
Oros-r.ois, Chat, de 418 

— Fouteau 426. 

— "Noyer 395. 
Groslay 394. 
Guichet, Le 411. 

Hangest 481. 

liaxtleur 446. 
nautil, the 892. 
Havre, I.e -ill. 
Hay, L 1 409. 
Herblay 390 
HeadigneoJ 431. 
Houfflea 380. 391. 

Ingouville 445. 
Isle- Adam, IV 895. 
lssy 842. 348. 
Ivry 414. 

Javel 841. 

.loinville le-Pont 417. 
Jonehere, La 375. 
Jouy-en-Josas HO. 

— le-Comte 396. 
.luilly (.College de) 406. 
Juvisy 415. 

Landy, Le 3 C 0. 
Laplace 409. 
Leuville 414. 
Levalloia-Perret 339; 
Appx., p. ij. 



Liancourt 434. 
i lousaint 419. 
LUas, Lea 242. 

l.illebonne 446. 
Limcil 418. 
Limoura 411. 
Linas 414. 
Loges, Les 379. 
Longoh&mp 15 287, 
Longjumeau 413. 
Longpont 414. 416. 
Longpre* 431. 
Longueau 483. 
Lormoy (.Chat, de) 414, 
Louveciennea 872, 
Louviers L42. 
Louvres 397. 
Lozerc 411. 
Luzarches 894. 

Machine, La 375. 
Maffliera 894. 
Maison-Blauche , La, see 

Appx., p. 45. 
Maiaona-Alfort 418. 
— Laffitte 391. 443. 
Malabry 410. 
Malakoff 342. 408. 
Malassia 251. 
Malaunay 43S. 
Malmaison, La 374. 
Blanche, Canal de La L04. 
Mandrea 418. 
Mantes 443. 
Marehe, La 372. 
Marcoussis 414. 
Mareil 373. 397. 
Margency 889. 
Marines 395. 
Marlotte 427. 
Gfrarly-le-Roi 373. 
— , Forest of 373. 
Marne, the 416. 417. H8. 
Marquise 435. 
Massy 411. 

Maubuiason, Chat, de 893. 
Mauviere (Chat.) 412. 
Melun 419. 
Me"riel 395. 
Me'ry 393. 395. 
Mesnil-Aubry, Le 394, 
Meudon 342. 
Minimes, Lae des 267. 
Mitry-Claye 406. 
Montceaux 419. 
Montereau 419. 
Montgeron 419. 
Moutigny 390. 427. 
Montivilliers 446. 
Montlherv 414. 
Montlignon 389. 
Montsaagny 394. 
Montmorency 888. 



INDEX. 



459 



Montretout 341. 
Montreuil 258. 
Montrouge (Fort de) 413. 

— (Grand) 412. 
Montsonlt 394 
Morangifl 418. 

Morct 427. 
Mortefontaine 307. 
Motteville 446. 
Moulin des Rochers 412. 
Moulineaux, Les 341. 344. 

Nanterre 371. 
Nanteuil 407. 
Nesles 395. 
Neuilly 223. 

— Plamnce 416. 
Neuville 391. 392. 
Newhaven 436. 
Nogent-sur-Marne 416. 
Nointel 394. 

Nointot 446. 
Noiay-le-Roi 371. 

— Je-Sec 387. 
Nonette, La 404. 
Noyelles 431. 

Oise, the 390. 392. 395 
396. 

Oisscl 442. 
Orgemont 389. 
Orldans-Ceinture 414. 
Ormeason 337. 
Ormoy 407. 
Orry-Coye 397. 

— la-Ville 397. 
Orsay 411. 

Ourcq, Canal de V 241 

406. 
Outreau431. 

Pacy sur FEure 443. 
Falaiseau 411. 
Paris 1. 

Abattoirs 24 1. 

Acaddmie Franc. 289. 

— de Mc"dechie'294. 
Alcazar d'Et^ 41. 
Alhambra 41. 

Allee des Cygncs 234 
344. 

— de l'Observatoire 
325. 

Apartments 13. 
Aquarium 232. 
Arc de Triomphe du 

Carrousel 70. 

de FEtoile 75. 

Archives Nationales 

183. 

— de la Prefecture de la 
Seine 182. 

Arenes de Lutece 288. 
Armenian Chapel 225. 



Paris: 

Arrival 1. 

Arrondissements xxiv. 

Art Exhibitions 44. 

Arts et Metiers, Con- 
servatoire des 197. 

Assistance Publique 
174. 

Aubervilliers 242. 

Auteuil 234; Appx., 
p. 45. 

Automobiles 46. 28. 

Avenue d'Antin 75. 

— du Bois-de-Boulogne 
76. 236. 

— <ie la Bourdonnais 
341. 

— de Breteuil 311. 

— des Chamna-Elys^es 
71. 

— de Clichy 220. 

— Daumeanil 254. 

— de Friedland 76. 

— Gambetta 250. 

— des Gobelina 331. 

— de la Grande-Arme"'; 
76. 223. 235. 

— Henri Martin 230.233. 

— Hoche 76. 222. 

— d'I<5na 230. 

— Kl<<ber 76. 230. 

— Malakoff 230. 

— de Messine 221. 

— Montaigne 225. 

— Montsouris 338. 

— de Neuilly 224. 

— de rObaervatoirc'325. 

— de rOp^ra 79. 88. 

— d^Jrl^ans 338. 

— Rachel 216. 

— dclaR6>ublique242. 

— de St. Uuen 220. 

— du TrocadeV; 230. 

— Velasquez 221. 

— Victor-Hugo 76. 

— de Villiers 220; 
Appx., p. 30. 

— de Vincennes . aee 
Appx., p. 46. 

Bagatelle 238. 

Bal Bullier 42. 334. 

Balls 42. 

Bank a 58. 

Banque de France 89. 

BaasindelaVi]lette241 

— de FArsenal 181. 
Bastille, Place de la 180. 
Baths 25. 
Batignolles 223. 
Bazaars 47. 
Beer Houses 24. 
Bel-Air, sec Appx.. 

p. 46. 



Paris : 

Belleville 241; Appx., 

p. 46. 
Bibliotbeque Nationale 

201. 

— de FArsenal 182. 

— Historique de J:' 
Vill'; 191. 

— Mazarine 290. 

— Polonaise 208. 

— Ste- Genevieve 285. 

— Scandinave 286. 
BieStre 408. 

Bird Market 264. 
Blind Asylum 311. 
Boarding Houaes 12. 
Boating 45. 
Bois de Boulogne 235. 

— de Vincennes 256. 
Bon Marche 48. 301. 
Booksellers 53. 
Botanic Garden 327. 
Bottin (directory) xxv. 
Bouffes Parisiena 40. 
Bouillons 17. 
Boulevards, the Grand 

or Inner 78. 
Boulevard Arago 337. 

— Barbes, Appx. p. 30. 

— des Batignolles 220. 

— Beaumarchais 85. 
181. 

— Bonne-Nouvelle 83. 

— des Capucines 79. 

— de Clichy 215. 

— de Courcellea 220. 

— Diderot 182. 

— dea Filles-du-Cal- 
vaire 85. 

— Haussmann 220. 

— Henri IV 182. 

— de FHopital 329. 

— des ltaliena 81. 

— de la Madeleine 79. 

— de Magenta 85. 

— Malesherbes 221. 

— Montmartre 82. 

— Montparnasae 335. 

— Ornano, aee Appx. 
p. 46. 

— du Palais 261. 

— Poissonniere 83. 

— de Port-Royal 331. 

— Raapail 335. 

— Richard-Lenoir 181. 
242. 

— St. Denis 83. 

— St. Germain 300. 

— St. Marcel 330. 

— St. Martin 84. 

— St. Michel 269. 

— de Sevastopol 84. 

— de Strasbourg 84. 208. 



460 



INDEX. 



Paris : 

Boulevard du Temple 
85. 

— Voltaire 85. 251. 
Bourse, la 203. 

— de Commerce 193. 

— du Travail 85. 
Boxing 47. 
Brasseries 24. 
Bridges, see Ponts. 
Butte aux Cailles 334 

— Montmartre 214. 

— Mortemart 237. 
Buttes-Chaumont , Les 

240. 
CabaretsArtistiques 42, 
Cabinet des Medailles 

et Ant. 204. 
Cabs 1.27: Appx.p. . 
CafSs 22. 

— Concerts 4L. 
Caisse des Depots 21 
Canal St. Denis 241 

— St. Martin 181. 241. 

— de rOurcq 241. 
Casernes 84. 182. 208. 
Casino de Paris 41. 
Catacombs, the 337. 
Cattle Market 241, 
Cemetery of Mont- 
martre 216. 

— Montparnasse 335. 

— of Passy 233. 

— of Pere - Lacbaise 
242. 

— of Picpus 253. 
Cercles 47. 
Cbambre des Deputes 

299. 

— des Martyrs 301. 
Champ-de-Mars 312. 
Champs-Elysees 71. 
Chapelle Expiatoire 

220. 

— St. Ferdinand 224. 
— , Sainte 262. 
Charonne, see Appx., 

p. 46. 
Cbemins de Fer de 

Ceinture 31. Appx., 

p. 45. 
Chemists 49. 
Church Music 44. 
Churches 56. 57. 

American Church 57 

Assumption 86. 

Baptist 57. 

Billettes, des 57. 185 

Calvinist 57. 

Congregational 56. 

English 56. 

Free Churches 67. 

Invalides 310. 



Paris : 

Churches : 
Lazaristes 301. 
Lutheran 57. 
Madeleine 77. 
Notre-Dame 265. 
Notre - Dame - d'Au- 
teuil 235. 

— des Blancs-Man- 
teaux 185. 

— de Bonne-Nouvelle 
83. 

— des Champs 335. 

— de Clignancourt 
215. 

— de Consolation 
225. 

— de-la-Croix 251. 

— de Lorette 211. 

— des Victoires 207 
Oratoire 57. 90. 
Pantheon 283. 
Pentemont 301. 
Protestant 57. 
Redemption 57. 
Russian 222. 
Sacre"-Coeur 214. 

St. Ambroise 251. 
St. Antoine 252. 
St. Augustin 221. 
St. Bernard 210. 
St. Christophe 241. 
St. Denis-du-St-Sa- 

crement 85. 
St. Etienne-du-Mont 

286. 
St. Eugene 83. 
St. Eustache 195. 
St. Francois -Xavier 

311. 
St. Germain - TAu- 

xerrois 91. 

— des-Prds 295. 
St. Gervais 178. 

St. Jacques-du-Haut- 

Pas 330. 
St. Jean-Baptiste 

241. 

St-Francois 186. 

St. Joseph-des-Car- 

mes 325. 
St. Julien-le-Pauvre 

270. 
St. Laurent 209. 
St. Leu-St-Gilles 196. 
St. Louis 309. 

— en-rile 268. 
St. Me"dard 331. 
St. Merry 173. 

St. Nicolas - des- 

Champs 196. 
St. Nicolas-du-Char- 

donnet 287. 



Paris: 

Churches : 
St. Paul et St. Louis 

179. Appx., p. 29. 
St. Philippe-du- 

Roule 75. 
St. Pierre 224. 

— de-Montmartre215. 

— de-Montrouge 333. 
St. Roch 87. 

St. Se"verin 270. 

St. Sulpice 296. 

St. Thomas - d'Aquin 
300. 

St. Vincent-de-Paul 
210. 

Ste. Chapelle 262. 

Ste. Clotilde 301. 

Ste. Marguerite 252. 

Scotland, Church of 
57. 

Sorbonne 282. 

Trinite" 212. 

Val-de-Grace 331. 

Visitation, Church of 
the 180. 

Wesleyan Chapel 57. 
Cigars 49. 
Circulating Libraries 

53. 
Circuses 43. 
Cirque d'Hiver 43. 85. 

— Medrano 43. 215. 

— Nouveau 43. 86. 
Cite, Island 259. 
Clichy 220. 

Clubs 47. 

Cluny, Hot. et Musee 

de 271. 272. 
Coaches 30. 
Coiffeurs 26. 
Collections,seeMusees. 
College Chaptal 220. 

— Ecossais 287. 

— de France 282. 

— Massillon 182. 

— Mazarin 289. 

— des Quatre-Nations 
289. 

— Rollin 213. 
Colonial Office 89. 
Colonne de Juillet 181. 

— Vendome 86. 
Comedie Francaise 88. 
Commissionaires 53. 1. 
Comptoir d'Escompte 

83. 
Concerts 41. 
Conciergerie 263. 
Confectioners 50. 
Conseil de Guerre 312. 
Conservatoire des Arts 

et Metiers 197- 



INDEX. 



461 



Paris : 

Conservatoire de Mu 

sique 83. 43. 
Consulate? 58. 
Conveyances 27. 
Cour de Rouen 271. 
Coureelles, see Appx., 

p. 46. 
Cours-la-Reine 224. 

— de Vincennes 253. 
Couvent du Sacre- 

Coeur 300. 
Credit Lyonnais 81." 
Cremeries 25. 
Cuisines de St. Loui 

264. 
Custom-house xii. 1. 
Cycling 45. 
Deaf and Dumb Insti 

tution 330. 
Dentists 55. 
Dhuis, Reservoir de la 

251. 
Diary 61. 
Directory xxv. 
Distribution of Time 

61. 
Divine Service 56. 
Dogs' Cemetery 340. 
Dome des Invalides 310 
Douane 1. xii. 
Druggists 49. 
Dutuit Collection 73. 
Ecole des Arts De'cora 

tifs 271. 

— des Arts et Manu 
factures 200. 

— des Beaux-Arts 291. 

— de Botanique 323 

— Boulle 252. 

— Coloniale 325. 

— de Droit 283. 

— Estienne 334. 

— des Hautes Etudes 
Commerciales 223. 

— de M^decine 270. 

— Militaire 312. 
de G-ymnastique 

257. 

— Normale Superieure 
331. 

— de Pharmacie 325 

— Polytechnique 287. 

— Pratique 271. 

— Superieure de Com 
merce 242. 

— des Mines 325. 
Egouts 196. 
Eiffel Tower 313. 
Eldorado 42. 
Elyse"e, Palais de 1' 7L 
Embassies 58. 
English Churches 56. 



Paris : 

Equestrian Perform 

ances 43. 
Esplanadedes Invalides 

302. 
EtabJissement horti- 

cole 235. 
Exchange 208. 
Exhibitions 41. 
Faubourgs xxiii. 
Faubourg St. Germain 

283. 
Fencing 46. 
Fiacres 27. 
Figaro Office 211. 
Fleuriste de la Ville 

235. 
Flower Markets 52. 

264. 
Folies-Bergere 41. 
Fontaine Cuvier 327. 

— de Grenelle 300. 

— des Innocents 194. 

— Louvois 201. 

— Maubuee 174. 

— de Medicis 324. 

— St. Michel 269. 

— Moliere 201. 

— tfotre-Dame 263. 

— de FObservatoire 
326. 

— Richelieu 201. 

— St. Sulpice 296. 

— du Vertbois 197. 

— de la Vietoire 174. 
Fortifications xxiv. 
Frauco-English Guild 

13. 54. 
Furnished Apartments 

13. 
Gardiens de la Paix 

xxv. 
Gare de TArsenal 181. 

— de PEst 32. 209. 

— des Invalides 32. 302. 
341. 

— St. Lazare 32. 213. 

— du Luxembourg 32. 

— de Lyon 32. 182. 

— Montparnasse 32. 
335. 

— du tford 31. 209. 

— du Quai d'Auster- 
litz 32. 327, 

d'Orsay 32, 298. 

— de Strasbourg 32.209. 

— de Vincennes 32. 255. 
Gaveau, Salle 44. 
Geographical Society 

300. 
St. Germain, Faubourg 

288. 
Giant Wheel 43. 



Paris : 
Gobelins, the 332. 
Golf Course 46. 
Goods Agents 33. 
Grands Magasins 48. 
Guignols 43. 
Hairdressers 23. 
Halle au Ble" 193. 

— aux Vins 327. 
Halles Centrales 194. 

. Hertford Hospital 53. 
Hippodrome de Long- 
champ 237. 
Historv xiv. 
Hopital Broca 337. 

— de la Charite 298. 

— Claude-Bernard 242. 

— Cochin 331. 

— Laennec 301. 

— Lariboisiere 210. 

— de la Pitts' 329. 

— St. Antoine 252. 

— de la Salpetriere 329. 

— Tenon 250. 

— Trousseau 253. 

— duVal-de-Graee331. 
Horse Raees 45. 
Horticultural Show 52. 
Hospice de Bicetre 408. 

— Ferrari 342. 

— Larochefoucauld338. 

— des Quinze-Vingts 
181. 

— Wallace 56. 
Hotels 2. 455. 
Hotel d'Albret 185. 

— d'Aumont 179. 

— de Beauvais 179. 

— de B^thune 180. 

— de Bourgogne 185. 

— de Chalons-Luxem- 
bourg 179. 

— de Cluny 271. 

— Dieu 265. 

— de Flesselles 191. 

— Henault 179. 

— de Hollande 186. 

— de Jean de Fourcy 
186. 

— des Invalides 303. 

— Lambert 269. 

— de La Vieuville 182. 

— Lamoignon 187. 

— Lauzun 268. 

— de Mayenne 180. 

— des Monnaies 291. 

— de Severs 207. 

— d'Ormesson 180. 

— des Postes 33. 193. 

— de Sens 179. 

— des Societes Savan- 
tes 271. 

— de Sully 180. 



462 



INDEX. 



Paris : 

Hdtel Tallard 185. 

— des Telephones 193. 

— du Timbre '208. 

— la Valette 182. 

— des Ventea 82. 

— de Ville 175. 
lie de la Cite 259. 

— St. Louis '268. 

— Lonviers 182. 
Imprimerie Rationale 

1S6. 
Institut Catholiq ae 3'25 

— ile France 289. 

— Ophthalmologique 
241. 

— Pasteur 54. 335. 
Institution des Jemies 

Aveugles 311. 

— des Sourds-Muets 
330. 

— Ste. Pe'rine 235. 
Invalides, Hotel des 

303. 
— , Dome des 310. 
Jardin d\Acclimatation 

238. 

— botanique 327 

— d'Essais Coloniaux 
257. 

— du Luxembourg 323 

— des Plantes 326. 

— des Tuileries 67. 
Jeu de Paume 351. 
July Column 181. 
Laiteries 25. 
Lavatories 26. 
Lawn Tennis 47. 
Letters 34. 

LibrairiePolonaise26S. 
Libraries , public, see 

Bibliotheques. 
Longchamp 45. 237. 
Lost Property Office 

265. 
Louvois, Font, et Place 

201. 
Louvre 92. 

African Antiquities 

96. 
Asiatic Museum 105 

15S. 
Bronzes, Ancient 

152. 
Ce'ramique Antique 

162. 
Chalcographie 168. 
Chinese Museum 167. 
Collection of Draw 
ings 155. 

— La Caze 151. 

— Grandidier 16S. 

— Thiers 156. 



Paris : 
Louvre : 

Collection Thomy- 

Thie'ry 165. 
Decorative Art 170. 
Donation Rothschild 

157. 
Egyptian Museum 

107. 160. 
Entrances 95. 116. 
Escalier Daru 96.116 

— Henri II 105. 
Ethnographical Mu 

setim 167. 
Furniture of the 17th 

and 18th cent. 153. 
Galerie d'Apollon 146. 

— Denon 96. 

— Mollien 96. 141. 
Grande Galerie 125. 
Jewish Museum 106. 
Marine Museum 167 
Mediaeval , Renais 

sance and Modern 
Objects 156. 159. 
Pavilion Denon 95 
116. 

— derHorloge(Sully) 
116. 

— de Mars an 170. 

— deLaTrenioi'llelGS. 
Picture Gallery 117 
Pottery, Antique 162 
Rotonde 97. 

— d'Apollon 146. 
Rubens Gallery 133, 
Salle d'Afrique 96. 

— des Bijoux An- 
tiques 149. 

— Duchatel 121. 

— Henri II. 151. 

— des Moulages 96. 

— des Portraits 143 

— des Primitifs lta- 
liens 124. 

— des Prisonuiers 
Barbaras 97. 

— des Sept Che- 
mine'es 150. 

— Van Dyck 132. 
Salon Carre" 121. 
Sculptures , Ancient 

96. 

— , Mediaeval and Re 
naissance 108. 

— , Modern 112, 
Lunatic Asylum 25S. 
Luxembourg, Palais du 

314. 
— , Muse"e du 315. 
— , Jardin du 323. 
Lyee"e Carnot 223. 
— Charlemagne 180 



Paris : 
Lyce'e Henri IV. 287. 

— JansondeSailh'm 

— Louis-le-Grand* '283. 

— Michelet 342. 

— Montaiirne 325. 

— St. Louis 282, 

— Victor Hugo 191. 

— Voltaire. 242. 
Madeleine 77. 
Madrid 238. 
Magasins 47. 
Mail Coaches 90. 
Mairie of the 1st Arron- 

dissement 91. 

— 2nd - 208. 

— 3rd — 200. 

— 4th — 179. 

— 5th — 283. 

— 6th — 296. 

— 9th — 82. 

— 10th — 84. 

— 11th — 251. 

— 13th — 334. 

— 14th — 338. 

— 16th — 233. 

— 18th — 215. 

— 19th — 241. 

— 20th — 250. 
Maison Blanche , La, 

see Appx., p. 45. 

— Chardon-Lag. 235. 

— des Dames ties 
Postea '208. 

— Francois I. 225. 

— Rossini 2n5. 
Maisons Meublees 13. 

— de Saute* 55. 
Manutention Militaire 

225. 
Maps 51. 
Marais, Quartier du 

183.. 
Marbeuf, Quartier 75. 
Marche" aux Bestiaux 

241. 

— aux Fleurs 1264. 

— du Temple 200. 

— de la Villette 241. 
Mardi Gras 43. 
Market, Central 194. 
Maternity Hospitals 

331. 
Menilmontant 251. 

Appx., p. 46. 
Metropolitain 30. 

Appx., p. 29. 
Military Music 44. 
Ministere des Affaires 

Etrangeres 300. 

— de rAgriculture et 
du Commerce 301. 

— des Finances 58. 90. 



INDEX. 



463 



Paris: 
Ministere de la Guerre 
300. 

— de la Marine 67. 

— des Travaux Publics 
300. 

Ministerial Offices 5S. 
Mint 291. 
Missions 58. 

— Etrangeres 301. 
Monceau, Pare 222. 
Money ii. xi. 

— Changers 59. 
Monnaie, La 291. 
Montfaucon 240. 
Montrnartre 213. 

— , Cemetery of 216. 
Montparnasse, Ceme- 
tery of 335. 
Mont-de-Pi<*tc' 185. 
Montrouge 338. 
Montsouris. Park of 

333. 
Monuments : 

Abbe" de rEpe"e 330. 
351. 

Aguesseau 235. 

Alphand 236. 

Arago 337. 

Augier 325. 

Balzac 76. 

Banville 325. 

Barye 182. 

Baud in 252. 

Beauharnais 303. 

fteaumarcbais 180. 

Becque 220. 

BtSrauger 200. 

Berlioz 220. 

Bernard 282. 

Bichat 271. 

Blanc 332. 

Bobillot 251. 

Boucher 94. 

Bonssingault 197. 

Broca 271. 

Budseufl 282. 

Champollion 282. 

Chappe 300. 

Charcot 330. 

Charlemagne 265. 

Charlet 337. 

Chartier 223. 

Chevreul 328. 

Chopin 222. 324. 

Coligny 90. 

Comte (Aug.) 282. 

Condorcet 290. 

Corneille 283. 

Cffrot 342. 

Dante 282. 

Danton 271. 

Daubenton 239. 328. 



Paris: 
Monuments: 
Daudet 75. 
Daumesnil 255. 
Defense de Paris 

340. 
Delacroix 258. 323. 
Deraismes 220. 
Diderot 213. 293. 
Dolet 2c8. 
Dumas 223. 
Fab re 324. 
Flachat 223. 
Flatters 33^. 
Fourier 219. 
Francis 302. 
Franklin 234. 
Gambetta 70. 
Gamier 334. 
Gavarni 211. 
George Sand 324. 
Gill 215. 
Godard 233. 
Goldoni 268. 
Gounod 222. 
Htiiy 311. 
Henri IV. 260. 
Joan of Arc 87. 221. 

330. 
Lafayette 70. 
La Fontaine 233. 
Lamartine 233. 
Larrey 331. 
Lavoisier 78. 
Leblanc 197. 
Leclaire 220. 
Leconte de Lisle 32'J. 
Ledru-Rollin 251. 
Lemaitre 85. 
Le Play 324. 
Le Verrier 334. 
Liberty 234. "-' 
Louis XIII. 191. 
Louis XIV. 207. 
Mace 241. 
Marcel 176. 
Marie Dcraismes 220. 
Maupassant 222. 
Meissonier 04. 
Moncey 220. 
Morlillet (Gabriel de) 

288. 
Murger 325. 
Musset 88. 223. 
Napoleon I. 86. 
Neuvilie 223. 
Ney 334. 
Pailleron 222. 
Palissy 296. 315. 346. 
Papin 197. 
Parmentier 224. 
Pascal 173. 
Pasteur 311. 



Paris : 
Monuments : 

Pelletier el. Caventon 
325. 

Perronet 221. 

Pine! 330. 

Raffet 94. 

ft asp ail 337. 

Renaudot 264. 

Republic 81. 289. 

Ricord 331. 

Rousseau 283. 

Bonssei 334. 

Sacy 298. 

Sedaine 213. 

Shakespeare 221. 

Silveslre 221. 

Simon 77. 

Taniier 326. 

Thomas 222. 

Trarieux 337. 

Velazquez 94. 

Vicaire 323. 

Victor Hugo 77. 

Villon 287. 

Voltaire 287. 290. 

Washington 227. 

Washington & La- 
fayette 230. 

Watteau 324. 
Morgue 268. 
Mortemart, Butte 237. 
Motor-Cabs 28. 
Motor-Cars 46. 
Muette, La 233. 
Muse'e d'Anatomie 271. 

— Broca 271. 

— des Antiquity Na- 
tionals 376. 

— des Archives 183. 

— de l'Armt'e 303. 

— d'Artillerie 303. 

— Astronomique 335. 

— Cambodgien 231. 

— Carnavalet 187. 

— Ce'ramique 345. 

— Cernuschi 221. 

— de Cluny 272. 

— Dennery 23'J. 

— Dupuytren 271. 

— Ethnographique'.'H^. 

— Forestier 256. 

— Gallie>a 226. 

— Godefroy 329. 

— Gr6>in 43. 82. 

— Guimet 227. 

— GustaveMoreau211. 

— Hatty 312. 

— d'Histoire Naturelle 
327. 

— Historique de la 
Ville 187. 

— Industriel 193. 



464 



INDEX, 



Pirns : 

Muse's du I ouvre 92, 

— du Luxembourg 315 
de Mme. de Caen 290. 

— tie MinOraUv.io 325 

Mondtaire 291. 

— des Moulages 281, 

— do I'Opora 81, 

— Ort\l;v 271, 

- Paleographique IS '■■, 
Pddagogfoue 331 

— des Poupeea 331, 

— do la Revolution 351, 

— do Sculpture Com- 
parOo 231. 

— Social 302, 

— dos Themes 272, 

— dos Voiturea 869. 
Music i hills 41, 

Napo'.oon l.'s TombSlO. 
■Natural History Mu- 
seum 327, 

Neuill? 323 

Newspapers 58, 

Notre Pa mo 265, 

Nurs;- • 

Obelisk of i. uxor 66 

Observatoire 

— , Carrefburde V 334. 

Oculists 55, 

Oddon 38. 

Office do Commerce 82. 

Olympia 1 1. 

Omnibuses 2 28. 

Appx., pp. 
Opera 37, 79. 
Opera Gomicn 
St, Ouen 220; Appx. 

p. 46. 

Palais Archiopisoopal 

801. 

— dos Beaux Arts 71, 

— Bourbon 289. 
do Castille 76. 
de i 'Kivsoo 71. 

- de Olace 46. 75. 
-- de Plnstitut 289. 

— do Justice 261. 

— do la Ldgion d'hon- 
n our 298. 

— du Louvre 92. 

— du Luxembourg 814. 

— Royal SS 

— dea Tournelles 191. 

— du Trooaddro 281. 

— dos Tuilorios 69. 

Panorama* 43. 215. 

Pantheon BE 

Tare Moneeau 222. 

— Montsouris 338. 
Parool Tost 34. 
Passage Jouffroj 82. 

— dos Panoramas 82. 



Paris: 

Passporta sii, 
Passy288} appx., p 86 
Pastry-Cooks 25. 

Patisseries 'J >. 

Pavilion de Banovre81. 

Pensions 12. 

Pare - Lachaise , Ceme 

torv Q 
IVtit Montrouge ooS. 

Petil Palais 71. 

Pbonograpba 48. 

Pbotorama 48. 

Physicians 

Picpus, Cemetery 2 >8. 

Place d' Amors. Appx., 

p. 80, 

— de la Bastille 180; 
Appx., p. 29\ 

Baudoyer 179, 
Blanche. Appx., 
p 80. 

— du Carrousel TO. 

— duChateau<d , Sau8 i 
du Chatele* m ; 

Appx., p. 29, 

— deCliohy220: Appx. 
p. 80, 

— de hi Concorde (35; 
Appx., p. 29. 

— Daumesni] 254 

— Dauphine 260, 

— Pout or t - Bochereac 
337, 

— de I'Kooio 91. 
- dos Ktats-l'uis 230. 

PBtoile 76. 
do n&uropt 

— Qambetta 250. 
de Qreve 175, 

— de nu'toi-do Viiio 
175. 

— d' Italic 334, 

— Lobau ITS. 

— Malesherhes 228. 

— Hauberl 288. 
-- Mongi 

— de Montrouge 338. 

— de la Nation 252; 
Appx., p. 29, 

— de POpera 79. 

— du halais-Koyai 90 

— du Parvis-Notre- 
Dame 268 

— du Petit-Poni '265. 

— Pigalle,Appx.,p.30 

— do la Republique 
84, 

— do Rivoli ST. 

— St Michel 269, 

— St. Pierre 218. 

— St, Sulpice 296. 

— do la Sorbonne 282, 



Paris: 
Plaoe du Theatre-Fran* 
cais 88. 

— du Trocadero 280 
du Trfine 252. 
Valhuberl 
Vauban 811, 

— Vend6me 86 

— dos Victoirea 
Voltaire 251. 
dos Vosgea 191, 

— Wagram 228. 
Pneumatic Tubes 85) 
Point du-Jour 

Appx., pp. 45. 48, 
Policemen cxv. 
Polo 16. 
rout Alexandre [II224. 

802. 
de PAlma 

— dos Arts OSS. 

— d'Auslorlir 327. 

— d'Auhuii 284 

— do Berc| 254: Appx., 
P. 46. 

— du Carrousel 298 
-- an Change 260. 

— de la Conoorde ih . 

— de Oonflac 

— de Flandre, aee 
Appx., p. 16, 

— deQrenelle284.311. 
d'lona 283. 

— d'hr> 254, 

— dos lnvalidos 225 

— Bfirabeau 235, 341, 

— National 
Appx.. p. 48. 

Neuf 259. 

— de Passy 

Royal 'JOS 

— St. Louia 268 

— St.. Michel 269. 

— dos StS. Poros 298. 

— de Solt'oriuo 298. 
Sulh 182. 

de Tolbiac 254. 
Population xxiii. 
Port St. Nicolas OSS 
Porte Dauphine 2 

— St. Denis 83. 

- Maillot 223: Appx., 
pp. 44. 80. 

— Si Martin 84. 

— de la Muette 
23 >. 

— dX>rle*ana 

— de Vincennea S 

appx., p. 29, 
Portefeuille Industriol 

too. 

Tost Office 83. 193. 
Poterne Barbette : 



INDKX 



405 



Paris; 



Parits: 



Pre* aux Clerea 200. 

Prefecture <le PoliCC 

265. 

— de j a Seine 175. 
Preliminary Dnvu 60. 

Prison de Ja Concier- 

gerle 263. 

— de PAbbaye 298. 

— de ia ttoquette 251 

— de J a Santc 887. 
Private Apartments 18, 
ProteatantChurehea67 
Qua! Debilly 225. 

— des OeJesOns 184. 

-— de Ja Confereuee224. 

— aux Pleura 204. 

— Henri jv 182. 
de i Horloge 280. 

— duMarcb4-Xeuf265. 
de la AUgiaeerie 200. 

— d Orleana 288. 
d Oraay 318. 

Quartier d<; PEnrope 
213. 
St.Oermaln 288. 

— Latin 269. 

— du Marais 183. 

— Marbeuf 75. 

— dn Temple 200. 
Baee Coureea 45. 

Railways xii. 

Railway Agent* 83. 

— Ofb'< 

— Omnibueea 1. 2. 

— Stations 31. 
Banelagh, the 233. 
Beading Rooms 53. 
i''; tauranta 13. 
Roman Bathe 280. 
Hue d'Allemagne 240. 

— de PArbre Sec 91. 

— do. Bae 300. 

— de Biragne 193. 

— deaBone-Enfauta89. 

— de la Bflcherie 270. 

— de Briaemiehe 174. 
- de Chabrol 210. 

— dela Obaussee-d'An- 
tin 212. 

— Drouot 211. 

— du Faubourg~St-An- 
toise 252. 

du-Temple 85. 

— Francois-Miron 179. 

— de8 Franea-Bour- 
geoia 185. 

— de Grenelle 300. 

— Jean Ooujon 225. 

— La Fayette 209. 

— des Lombard 174. 

— du Louvre 90. 193. 

— de Lntece 264. 
Baeobkeb. Paris. 16th 



Bne tfonge 270. 287. 

• - Mo i j Uetard 288. 

- de Ja J'aj/ I 8. 

— des Petite-Champa 
207. 

— des Pyramides 87. 

— dnQuatre*Septembre 
79. 

— Quineampois 174. 

— Reaumur 208. 

— de Bennea 886. 
de Benllly 262. 
de Bieheiieti 201. 
de Bivoll 90. J 78. 

— de la Roquette 251 
- BoysJe 77. 

- St. Antoine 170. 

— St. Denis 173. 

-- St. Honors 86. 91. 

— St. 7aeoue»270.880 

— St. Las are 218. 

— St. Martin 174. 

— de Seine 200. 

— de Sevres 801. 

.r- 234. 

— ho uf /lot 288. 

— Taillcpain 174. 

du ] emple 86. 200 
de Turbigo 86. 186 

— de Valoia 80 
de Venise 174. 

— Vivienne 82. 
Saddle Horses 45. 

St. Antoine, Paubonrg 

xxiii. 262. 
St. Ferdinand, Chap. 

224. 
Sainte ObapcJJc 202. 
SaJlcs de Danae 42. 
Salon 45. 

Savonnerie, la 333. 
Seal a 42. 
Seminaire de St. SuJ- 

pice 200. 

— des Missions Etran- 

i 801. 

Bergenta de Ville xxv. 

Service Gtlogr. de 
l A mile 301. 

Sewers 196. 

Shopa 47. 

Skating 40. 

Slaughter-bouses 241. 

Sleeping Ca* : 

Sorbonne, the 280. 

Sports 43. 

Square des Arts et Me- 
tiers 197. 

— dea Batignollea 223. 
OJ iny 280. 

— Daumesnil 254. 

— dea Epjnettea 220. 
Edit. 



P«uri«: 
Square Lonroia 201. 

— des Mehegea 301. 

— Monge 287. 
HontholoB 210. 

- Parmentier 251. 

— du Temple 2 0. 

Stamps 50. 

Statues, see Monuments. 

Steamboat Ofuee 

Steamboats 30; Appx., 

p. IS. 
Synagoguea 58. 211. 

'J abacs , Manufacture 

des 342. 
Tea Booma 25. 
Telegraph Offices 35 
Telephone 86. 193. 

'J ernpJe, Faubourg du 
xxiii. 

— , Quartier da 200. 
Theatree 30. 

Tb'-atre de PAmbigll 

Comique 40. 84. 

— Antoine 89. 

— de PAtbehee 41 

— des Rouffes Pari- 
siens 40. 

— du ObateJet 40. 174. 

— Cluny 41. 

— Dljeiet 41. 85. 

— des Foiics Oramati- 
qnea 40. 

— Francais 38. 88. 

de la Salt* 40. 107. 

— du Grymnaee 

— Marigny 41. 75. 

— des iNouveautes 40. 
81. 

— de rOdeoa 38. 325. 

— de POpera 37. 70. 

— de 1 Ope>a-Oouiique 
38. 82. 

— du Palais-Royal 40. 
89. 

— de la Porte-St. Mar- 
tin 39. 84. 

— de Ja Renaissance 
40. 84. 

cbert Houdin 41 

— Sarah Bernhardt 30. 
174. 

— des Varies 30. 82. 
- du Vaudeville 89. 

81. 
Theatre Offices 38. 
Thennea 280. 
Time Tables 02. 
Tobacco Manufactory 

Topography xxiii. 
Tour Eiffel 313. 

— de Dagobert 264. 

30 



466 



INDEX, 



Paris: ! 

Tour de Jean sans Peur 
195. 

— de la Liberty 182. 
. — de Nesle 288. 

— St. Jacques 173. 
Touring Club 45. 
Tramways 28 ; Appx., 

pp. 37. 44. 
Tribunal de Commerce 

264. 
Trocade"ro, Palais du 

230. 
— , Pare du 232. 
Tuileries, the 62. 
— , Jardin des 67. 
University 280. 
Vacberies 25. 
Val-de-Grace 331. 
Vanne, Reservoir de la 

338. 
Vendome Column 86 
Victor Hugo's House 

192. 
Villette, La 241. 
Voitures 2. 27. 
Weights xxix. 
Wine Sbops 24. 
Zoological Garden 328. 

Paris-Denfert 337. 408. 

— Plage 431. 
Parmain 396. 
Passy 233. 
Pavilly 446. 
Pecq, Le 372. 
Perray-Vaucluse 416. 
Perreux, Les 416. 
Petit-Bourg 419. 

— Cbambord 413. 

— Massy, Le 413. 

— Nanterre 37i. 391. 
Peupliers, Les 344. 
Picquigny 431. 
Pierrelitte 397. 
Pierrelaye 390. 
Piple, Chat, du 418. 
Plaine-St-Denis, La 380 

406. 
Plant-de-Champignv, Le 

417. 
Plessis-Belleville, Le 406. 
Pointe-Raquet, La 387. 
Poissy 443. 

— Grande-Ceinture 380 
Pont d 1 Antony 413. 

— de PArche 442. 

— Blanc 406. 

— de Briques 431- 

— Remy 431. 

•— de la Re'volte 380. 

— de St. Cloud 341. 

— de Sevres 341. 



Pont de Soissons 406 
Ponthierry 419. 
Pontoise 392. 
Port-Marly 375. 

Royal 408. 
Precy 396. 
Presles 394. 
Pre-St-Gervais (Le), 
Puteaux 340. 



212 



Raincy (Le), 417. 
Rambouillet 412. 
Rang du Fliers -Verton 

431. 
Rape'e Bercy (La), see 

Appx., p. 46. 
Reine Blanche, Chat, de 

la 405. 

, Etang de la 404 

Reuilly 255. 
Ris-Orangis 419. 
Robinson 410. 
Rocher, Le 411. 
Rolleboise 443. 
Romainville 242. 
Rond-Point des Bergeres 

373. 

de la Defense 373. 

Rosny 443. 

— sous Bois 417. 
Rouen 438. 
Royaumont 391. 
Rue 431. 
Rueil 373. 

Saint Brice 394. 

St. Cloud 346. 

Montretout 341. 

— Cucufa (Etang de) 
375. 

— Cyr 371. 

— Denis 380. 
(He) 386. 

— Fargeau 419. 

— Firmin 405. 

— Germain-en-Laye 375. 
Grande-Ceint. 373. 

380. 
la-Norville 414. 

— Gratien 387. 

— Josse 431. 

— Just-en-Chaussee 434. 

— Leu-d'Esserent 396. 
Taverny 395. 

— Mande 255. 

— Martin-du-Tertre 394. 

— Maur-les-Fosses 417. 
(Canal de) 417. 

— Maximin 405. 

— Maurice 258. 

— Michel -sur-Orge 416. 

— Nom-la-Bret. 371. 373. 

— Ouen 220. 



St. Ouen PAumone 390, 
392. 393. 
Pierre-les-Calais 435. 

— — du-Vauvray 442. 
Prix 389. 

— Remy- les -Chevreuse 
411. 

— Riquier 431. 

— Roch 432. 

— Valery-en-Caux 446. 

— •— sur-Somme 431. 
Sainte Adresse 445. 
Sannois 389. 390. 
Santeny-Servon 418. 
Saquet (Moulin) 415. 
Sarcelles 394. 
Sartrouville 391. 
Saulx - les - Chartreux 

413. 
Savigny-sur-Orge 415. 
Sceaux 409. 

— Ceintnre 408. 
Se'guin, He 344. 
Seine-Port 419. 
Senlis 405. 
Senlisse 412. 
Sevran-Livry 406. 
Sevres 344. 
Sognolles 395. 
Soisy 387. 
Solle, la 427. 
Somme, the 431. 432. 
Sotteville 442. 
Southampton 443. 
Stains 397. 
Sucy-Bonneuil 418. 

— en-Brie 418. 
Suresnes 347. 
Survilliers 397. 

Taverny 395. 
Tbeve, the 397. 
Thieux-Nantouillet 406. 
Touquet, Le 431. 
Tour, Chat, de la 389. 
Tourvoie, Chat, de 411. 
Tremblay 416. 
TrCport, Le 431. 437. 
Trianon, Grand and Pe- 
tit 369. 370. 
Trouville-sur-Mer 445. 
Taile, Butte de la 390. 

Val, Abbaye du 395. 
— , Le 343. 

Val-d'Or-St-Cloud 348. 
Valenton 411. 
Valerien, Mont 348. 
Val Fleury 348. 
Valmondois 395. 
Valois, Chat, de 407. 
Vanves 342. 
Varangeville 437. 



HOTELS. 



467 



Varenne-Chennevieres, 

La 418. 
Vaucelles 395. 
Vaucluse 416. 
Vaucresson 372. 
Vaagirard, see Appx., 

p. 45. 
Vaux-de-Cernay 412. 

— le-Penil (Chat.) 420. 

— Praslin (Chat.) 420. 

— le-Vicomte (Chat.) 
420. 

Verneuil-l'Etang 418. 
Vernon 442. 
Versailles 349. 



Vert-Galant 406. 
V^sinet, Le 372. 
Viarmefl 394. 
Victoire, Abbaye de la 406 
Vigneux 419. 
Villabe' 419. 
Ville-d'Avray 341. 
— du-Bois, La 414. 
Villebon 411. 
Villecresnes 418. 
Villegenis, Chat, de 411. 
Villejuif 414. 
Villemombles 417. 
Villeneuve-St-Georges 
418. 



Villeneuve-rEtang 372. 
Villeparisis 406. 
Villiers-le-Bel 397. 
Vincennes 255. 
Vineuil 405. 
Viroflay 348. 
Vitry 415. 
Vosves 419. 
Vulaines 419. 

Wissous 413. 

Yeres, the 419. 
Yvetot 446. 
Yvette, the 411. 



Alphabetical List of the Hotels, Pensions, Restaurants, 
and Cafes of Paris mentioned in the Handbook. 

The words Hotel, Restaurant, etc., are omitted for the sake of brevity. 



Adelphi, 6. 
Albe (d 1 ), 4. 
Alexander, 12. 
Alexandra, 11. 
Ambassadeurs (des), 9. 
American, 8. 
Amiraute (de l 1 ), 6. 
Anglo-Ame'ricain, 10. 
Antin (d'), 6. 
Arcade (de V), 7. 
Athe'ne'e (de T), 3. 
Autriche (d 1 ), 9. 

Bade (de). 6. 
Barbier, 13. 
Baviere (de), 8. 
Beaujon, 8. 
Beau-Sejour, 11. 
Beau-Site, 5. 
Bedford, 4. 
Belgique et Hollande 

(de), 8. 
Bellevue, 4. 
Belloc, 12. 
Bellot-Carol, 12. 
Belmont & de Bassano, 8, 
Bergere, 8. 
Berne (de), 11. 
Blackader, 12. 
Blondeau, 13. 
Boizard, 13. 

Bon-Lafontaine (dn), 9. 
Bournique, 13. 
Bradford, 7. 



Hotels and Pensions. 

Brenzinger. 12. 
Brighton, 4. 
Bristol, 3. 
Britannique, 9. 
Buckingham, 7. 
Burgundy, 7. 
Byron, 0. 

Oaffarel, 10. 
Cailleux, 10. 
Calais (de), 6. 
Campbell, 5. 
Capucines (des), 6. 
Cardon, 12. 
Carlton, 5. 
Carre. 12. 
Castiglione, 4. 
Castille (de), 5. 
Cecil, 8. 
Central, 9. 
Centre (du), 10. 
Champage <fc de Mulhouse 

(de), 10. 
Champs-Elyse'es (des), 12. 
Chatham, 4. 
Chopard, 13. 
Cit6 Bergere & Bernaud 

(de la), 8. 
— du Retiro, 7. 
Clairmnnt, 12. 
Clement, 13. 
Cluny Square, 11. 
Cologne (de), 11. 
Colonies (des), 9. 



Columbia, 8. 
Concorde (de la), 7. 
Condat, 12. 
Constantine (de), 11. 
Continental, 3. 
Corneille, 10. 
Cosmopolite, 10. 

Dacia, 10. 
Danube (du), 10. 
Debacq, 13. 
Delarue, 13. 
Denain, 10. 
Desbleds, 12. 
Deux-Mondes (des), 4. 
Dominici, 5. 
Dor**, 11. 
Doucerain, 13. 
Ducreux, 12. 
Dysart, 13. 

Elysee Palace, 3. 
Empire (de D, 6. 
Etats-Unis (des). 6. 
Europe (de V), 10. 

Favart, 6. 

Ferras, 8. 

Ferris, 13. 

FJokon, 13. 

France (de), Rue d'Antin, 

11. 
— , Cite" Jarry, 10. 
France et Choiseul (de), 4. 

30* 



468 



HOTELS AND PENSIONS. 



Francis 12. 

Franco-English Guild, 13. 
Franklin et du Bre'sil, 7. 

Gaigneau, 12. 

Gare du Nord (de la), 10. 

Gargare, 12. 

— Genie, 12. 

Geoffroy, 12. 

Glatz, 12. 

Globe (du), 9. 

Grand Hotel, 3. 

Grande Bretagne, 7. 

Grosvenor, 8. 

Guillier, 13. 

Hareourt (d'), 11. 
Haussmann, 8. 
Hawkes, 12. 
Helder (du), 6. 
Hollande (de). 4. 
Home (the), 13. 

Iena (d'), 5. 

lies Britanniques(des), 4. 

Imperial, 5. 

International, 8. 

Isly (d 1 ), 11. 

Jeanne-d'Arc, 9. 
Joubert, 11. 

Kremer, 13. 

Lafayette, 12. 

Lafntte, 11. 

Laille, 13. 

Lamartine, 12. 

Langham, 4. 

Lartisien, 7. 

Le Gal, 13. 

Lehman, 12. 

Levant (du), 9. 

Lille & d 1 Albion (de), 4 

Londres (de), R. Bona 

parte, 11. 
Londres (de) , R. Casti 

glione, 4. 
Londres & de New-York 

(de), 10. 
Lord Byron, 12. 
Louis-le-Grand, 6. 
Louvois, 9. 
Louvre (da), 4. 
Luxembourg (du), 11. 

Madison, 4. 
Maisons Meuble'es, 11. 
Majestic, 5. 
Malesherbes, 7. 
Malherbe, 10. 
Malte (de), 9. 
Manchester (de), 6. 



Marguery, 8. 

Marigny, 7. 

Marine & des Colonies 

(de la), 11. 
Marlboro 1 , 13. 
Mercedes, 4. 
M&ropole, 5. 
Meurice, 3. 
Meyerbeer, 5. 
Midi (du), 11. 
Mirabeau, 4. 
Moderne, 9. 
Molinie, 12. 
Montaigne. 7. 
Montana, 4. 

Naudin, 12. 
Neva (de la), 6. 
New, 10. 

Nornaandie (de), 10. 
Normandy, 4. 

Oceanique, 11. 
Odeon (de T), 13. 
Opera (de F), b. 
Orient (d 1 ), 6. 
Orleans-St-Germain (d 1 ). 

10. 
Oxford & de Cambridge 

(d 1 ), 5. 

Palace, 3. 
Palais (du), 7. 
Palais-d'Orsay (du), 5, 9 
Palais-Royal (du), 9. 
Palmiers (des), 11. 
Palym, 11. 
Paris (de), 10. 

— & de Nice (de), 8. 

— & d'Osborne (de), 5. 
Paris-Centre, 11. 
Parisienne, 13. 
Paulier, 13. 
Pavilion (du), 8- 
Pays-Bas (des), 6. 
Peeler, 13. 

Perey, 7. 
Perigord (du), 6. 
Pernotte, 13. 
Poisart, 13. 
Ponterie (de la), 12. 
Powers, 5. 
Prince Albert, 6. 

Quai- Voltaire (du), 9. 

Rabaliaty, 13. 
Rastadt (de), 6. 
Regina, 3. 
Regnard, 10. 
Rtinburg, 13. 



Rhin (du), 3. 
Rhone (dul, 9. 
Richard, 12. 
Richmond, 6. 
Ritz, 3. 

Rome (de), 11. 
Ronceray, 8. 
Rossini, 11. 
Rouen (de), 9. 
Rougemont, 8. 
Royal, 8. 
Russie (de), 6. 

St. Georges, 7. 

St. James & d' Albany, 5. 

St. Pe"tersbourg, 7. 

St. Sulpice, 10. 

Ste. Marie, 9. 

Saints-Peres (des), 9. 

Scribe, 4. 

Seine (de), 10. 

Senat (du), 10. 

Seze (de). 11. 

Solferino, 9. 

Splendid, 8. 

Suez (de), 10. 

Suisse, 6. 

Sydney, 7. 

Tamise (de la), 5. 
Taylor, 12. 

Terminus (Gare St. La- 
zare), 4, 10. 

— (Gare de Lyon\ 11. 

— du Nord, 10. 
Tete, 7. 

Tibre (du), 6. 
Tison, 12. 
Tivollier, 5. 
Touraine, 11. 
Townshend, 12. 
Tre'moille (de La), 5. 

UniverS & du Portugal 

(de 1*), 9. 
University Hall, 13. 

Vendome, 3. 
Victoria, 7. 
Vignon, 7. 
Villa des Dames, 13. 

— St. Georges, 12. 

— Stella, 12. 
Villard, 12. 

Ville de New York (de 

la), 10. 
Violet, 8. 
Vivienne, 11. 
Vouillemont, 7. 

Wagram, 5. 
West End, 8. 
Westminster, 4. 



RESTAURANTS AND CAFES. 



469 



Restaurants and Cafes. 



Albe (<n. 18. 
Ambassadeurs (des), 17. 
Ame>icaih, 18. 23. 
Anglais, 16. 
Arc-en-Ciel (de 1'), 22. 
Armenonville (Pavilion 
d'), 17. 

Barbotte, 21. 
Beauge", 18. 
Blond, 18. 
Blottier, 21. 

Boeuf a la Mode (an), 19. 
Bonne-Nouvelle, 19. 
Bonvalct, 20. 
Bouillons Duval, 17. 18. 
19. 20. 21. 22. 
Bastide, 19. 

— Boulant, 17. 18. 22. 

— Chartier, 17. 19. 20. 

— St. Germain, 21. 
Brasseries, 24. 
Brabant, 18. 24. 
Bretagne (de), 22. 

Cardinal, 18. 23. 
Carron, 20. 
Cascade (de la), 20. 
Cercle (du), 20. 
Champeaux, 18. 
Continental, 19 
Coq (du), 20. 
Coq - d'Or (Taverne du). 

24. 
Corazza-Douix, 19. 
Cycle (du), 20. 

3ames-Seules (des), 19. 
)ohouve, 20. 
Jilpuech, 19. 
Je'parts (des), 21. 
Jreher, 20. 24. 
Drouant, 18. 
Jucastaing. 19 24. 
>umesnil, 22. 2i. 
arand, 16. 23. 

'•oles-Reunies (des), 21. 
nitage, 17. 
erance (Brass, de T), 

ie (de T), 21. 
hss Bar, 25. 

^-19. 
ae-Sole (dui, 18. 

^ande (Tav.). 24. ■ 
jpyot, 22. 
iJrancais, 23. 
France (Cafe" de), 23. 



France (Rest, de), 19. 
Franco Italien, 18. 

Gaticlair, 18. 
Gazal, 19. 
Germain, 22. 
Gillet, 20. 
Gittard, 19. 
Glacier Napolitain, 23. 
Grand Cafe*, 18. 23. 
Grande Tav., 18. 24. 
Grand U (du), 18. 
Grand-Vatel, 18. 
Gruber, 20. 24. 
Gutenberg (Brass.), 24. 

Harcourt (d 1 ), 24. 
Havre (du), 21. 
Henri-Quatre, 24. 
Henry, 16. 
Hippo-Palace (de F), 21. 

He (de T), 20. 

Italien, 18. 

Jacqueminot-Graff, 24. 
Jardin d'Acclimatation 

(du), 20. 
Jardin Turc (Cafe du), 

23. 
Joli-Sejour, 20. 
Juergens, 24. 
Julien, 18. 23. 

Laffitte (Tav.), 18. 24. 
Lap6rouse, 22. 
Laprd, 18. 
Larue, 16. 
Laurent, 17. 
Lavenue, 21. 
Lecomte, 20. 
Ledoyen, 16. 
Legion d'Honneur (dela), 

21. 
L6on, 19. 21. 
Lequen, 21. 
Lion Bouge (du), 24. 
Lorraine (de), 22. 
Louvre (Hot. du), 19. 
Lucas (le Grand), 18. 

Madeleine (de la), 18. 
Madrid (Cafe" de), 17. 
Mahieu, 24. 
Maire, 16. 
Marguery, 19. 
Martin, 18. 
Maxim 17. 
Mazarin, 18 23. 24. 
Merveilles desMers(aux), 
20. 



Moderne, 18. 21. I 
Mollard, 21. 
iVIontmartre (Taverne), 

24. 
Moret, 22. 
Muller et Blaisot, 18. 19. 

24. 
Muse"e de Cluny, 24. 

Ne'gociants (des), 19. 
Negre (Tav. du), 24. 
Noel-Peters, 18. 
Ope"ra (Tav. de l 1 ), 18. 24. 

Paillard, 16. 17. 
Paix (de la), 16. 23. 
Palace Hotel (du), 20. 
Palais (Tav. du), 22. 
Palais-d'Orsay (du), 21. 
Palette-d'Or, 24. 
Pantheon (Tav. du), 22. 

21. 
Paris (Cafe" de), 16. 19. 23. 
Paris (Tav. de), 24. 
Pavilion de FElysee, 17. 
Pavilion Royal, 17. 
Pavilions Chinois (des), 

20. 
Philippe, 19. 
Pnnt de Fer (du), 23. 
Pont-Neuf (Brass. du),21. 
Porte St. Martin (de ia), 

20. 
Pousset, 18. 24. 
Prunier, 16. 
Pyramides (Brass, des), 

24. 

Re"gence (de la), 23. 
Regent (au), 21. 
Reneaux-Perdrier, 19. 
Riche, 16. 23. 
Ritz, 16. 
Rocher fdu), 20. 
Rohan (de), 23. 
Rome (de), 21. 
Rond-Point (du), 20. 
Rotonde (de la), 23. 
Rougemont, 19. 
Royale (Tav.), 18. . 

Ste. Clotilde, 21. 
Schaeffer, 21. 
Scossa, 21. 
Soci6t6s Savantes (des) 

22. 
Soufflot, 22. 23. 
Source (de la), 24. 
Suede (de), 23. 
Sylvain, 18. 



470 



RESTAURANTS AND CAFES. 



Terminus (du), 21. 
Terrasse (de 1ft), 20. 23. 
Terrasse Jouffroy (de la), 

18. 
Tour- d 1 Argent, (de la), 

23. 
Touring Club (du), 20. 
Tournier (Braas.), 24. 
Tourtel, 24. 



Univers (de T), 23. 
Universelle (Brass.), 18. 
24. 

Vaehette, 22. 23. 
Valy, 19. 
Varietes (des), 23. 
Vefour Jeune, 19. 
Versailles (de), 21. 



Vichy (de), 18. 
Viennois, 18. 19. 
Ville de Paris (de 1 
Voisin, 16. 
Voltaire, 22.. 23. 

Weber, 18. 

Zimmer, 18. 20. 24. 









brk (de 



Leipzig. Printed by Breitkopf ii lljirtel. 



INDEX OF STREETS 

AND 

PLANS OF PARIS 



Pagei 

1. GENERAL PLAN OF PARIS, showing the divisions 

of the large plan and the limits of the special plans. 

2. LARGE PLAN OF PARIS, IN THREE SECTIONS. 

3. FIVE SPECIAL PLANS OF THE MOST IMPORT- 

ANT QUARTERS. 

I. Champ-de-Mars. Trocadero. Champs-Elysees. 9 

II. Champs-Elysees. Louvre. Great Boulevards (West). 

III. Great Boulevards (East). The Halles. 

IV. Invalides. Luxembourg. 

V. Cite. Jardin des Plantes. Bastille. 

4. LIST OF THE PRINCIPAL STREETS, SQUARES, 

PUBLIC BUILDINGS, ETC., OF PARIS. ... 1 

5. LIST OF THE STATIONS OF THE METROPOLI- 

TAIN 29 

OMNIBUS ROUTES 34 

TRAMWAYS 37 

CHEMINDEFERDEPETITE-CEINTURE ... 45 

CAB TARIFF 40 

RIVER STEAMBOATS 48 

6. RAILWAY AND TRAMWAY PLAN OF PARIS. 



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I 



List of the Principal Streets, Squares, Public 
Buildings, etc. 

with Reference to the accompanying Plans. 

The large Plan of Paris, on the scale of 1 : 20,000, is divided into three 
sections, of which the uppermost is coloured brown, the central red, and 
the lowest grey. Each section contains 36 numbered squares. In the 
accompanying index the capital letters B, R, G-, following the name of a 
street or building, refer to the different sections, while the numbers cor- 
respond with those on the squares in each section. When the name re- 
quired is found also on one of the special plans, this is indicated by an 
italicized Roman numeral. Thus, Rue de PAbbaye will be found on the 
red section, square 19; and also on the fourth special map. 

Names to which Ancienne, Petit, Saint, etc., are prefixed, are to be 
sought for under these prefixes. It should also be observed that the names 
of atreets in Paris are frequently altered. In the special maps some of 
the house-numbers are inserted at the corners of the longer streets, especi- 
ally in those cases in which the consecutive odd and even numbers are 
locally some distance apart. See also footnote at p. 3. 

The numbering of the squares is so arranged that squares in different 
sections bearing the same number adjoin each other. Thus, square 18 on 
the brown section finds its continuation towards the S. in square 18 on 
the red section. 

The squares will also be useful for calculating distances, each side 
of a square being exactly one kilometre, while the diagonals if drawn 
would be 1400 metres or l^/s kilometre. 

The word Rue is always omitted in the following index for the sake 
of brevity; the other contractions will present no difficulty. 

B. R. Q. B. R.G. 



Abattoirs (Villette) .... 

— (rive gauche) 

Abbaye (de 1') . ... IV 

— aux-Bois IV 

Abbe'-de-rEpeV. (de V) IV, V 

— Gre'goire (de V) . . IV 

— Groult (de 1') 

Abbesses (des) 

Abbeville fd 1 ) 

Abel-Hovelacque 

— Leblanc (passage) . . . 

Aboukir (d 1 ) Ill 

Abreuvoir (de Y) 

Acacias (des) 

Accouchement (clin. d 1 ) . . 
Adolphe-Adam V 

— Mille 

Affaires Etrang.(min.des) II 

Affre 

Agrippa-d'Aubigne . . . V 
Aguesseau (d') .... II 

Alain-Chartier 

Albert 

Alboni (rue & square). . I 

Albouy /// 

Alcazar d'Ete II 

Alembert (d') 

— (d'; Issy) 

Alen9on (d') IV 

Alexia (d') 

Alexandre III (pont). . II 



27 



23 



// 



III 



Alexandre III (av.) 
Alexandre-Cabanel 

— Dumas .... 

— Parodi 

Alexandrie (d 1 ) . . 

Alfred-de-Vigny 

Alger fd 1 ) II 

Alhambra (theatre de V) III 

Alibert /// 

Alice's (asile clinique d 1 ) 
Aligre (cour d 1 ) . . . . /// 

— (rue et place d') . . . . 
Allemagne (d 1 ) 

— or de Pantin (porte d') . 

Allent IV 

Alleray (rue & place d 1 ). . 
Alliance (av. de T) .... 
Alma (avenue, place, & pont 

del 1 ) I 

— (cit<< del') / 

— (de V; Courbevoie) . . . 
Alombert (passage) . . 77/ 

Aiouettes (des) 

Alpes (place des) 

Alphan (passage) 

Alphand (av.) 

— (boul.) 

Alp l >on8e 

— Daudet 

— de-Neuville 

Alsace (d') 



20 



10 



23 



Baudbkkk. Paris. 16th Edit. 



LIST OF THE PRINCIPAL STREETS, 





B. 


R 


G. 




B.R 


Q, 


Alsace (<T ; Levallois-Perret) 


10 






Archeveche' (quai et pont 












W 




de V) V 




•y 




Ambassade d'Allemagne II 
— d'Angleterre .... // 




17 










36 




15 




Archiepiscopal (palais). IV 




14 




— d'Autriche IV 




17 




Archives (des) Ill 




2c 




— de Russia IV 




17 




— Nationales Ill 




21 




Ambassadeurs (cone, des) II 




15 




Arcole (pont & rue d 1 ) . V 




23 




Ambigu (th. de 1') . . 77/ 




24 




Arcueil (rue & porte d 1 ) . 






21 


Amboise (d') Ill 




21 




Ardennes (des) 


29 






Ambroise-Pare 


23 






Arenes (des) V 






22 


— Tbomas 


'24 






— de Lutece (sq. des). . V 




, 


22 


Ame'lie (rue & passage) IV 




14 




Argenson (d 1 ) 7/ 


15 






Amelot (rue & imp.) Ill, V 




26 




— (boul. d 1 ) 


b 






American Churcb 




12 




Argenteuil (d 1 ) .... II 




21 




Amiral-Courbet (de l 1 ) . I 




9 




Argonne (rue & place de V) 


28 












21 


Argout (d 1 ) Ill 

Armaille" (d 1 ) 




•>| 




— Roussin 






10 


9 






Ampere 


11 






Armand-Carrel (rue & place) 


29 






Amsterdam (d 1 ) 


18 






Armorique (de V) 






13 


Amyot V 






22 


Arquebusiers (des) . . Ill 




26 




Anatole-de-la-Forge .... 


U 






Arras (d') V 




22 




Anatomie (amphitheatre d 1 ) 






22 


Arrived (de 1') . ... IV 


. 




16 


Ancelle 


B 






Arsenal (biblioth., rue, gare, 








Ancienne-ComeMie (de T) 








& place de V) V 




2b 




IV, V 




19 




Arsene-Houssaye 


12 






Ancre (passage de T) . Ill 




24 




Artillerie (comite de 1') IV 




17 








W 










,} 1 


Andr^-Ch^nier Ill 




24 




Artois (d 1 ) II 


15 






■ (Issy) 

— del-Sarte 






K 




H 






20 






Arts (pont des) . ... IV 




20 




Anges (imp. des) . . . IV 




17 




Arts-et-M^tiers (square des) 








Anglais (des) V 


. 


22 




III 




24 




— (passage des) 


29 






Asile-Popincourt (rue & pas- 








Angouleme (rue &passage d 1 ) 
/// 












*m 






27 




Asnieres (porte d') .... 


11 






Anjou (d 1 ) II 


18 


18 




Assas (rae d') IV 




16 


19 


— (quai d 1 ) V 




22 




Asseline 






17 






33 




Assomption (de V) 

— (e"glise de V) . . . . II 




5 




Annelets (des) 


33 








18 




Annonciation (de Y) ... 




ft 




Astorg (d 1 ) ...... II 


15 






— (£glise de T) 








Astrolabe (imp. de l 1 ) IV 






13 


Antin (d 1 ) II 




21 




Athenes (d') 


18 










15 




Atlas (de V) 


30 






— (cite d 1 ) II 


21 




18 


Aube V 




23 
18 




Antoine-Chantin 


Auber // 




— Dubois IV, V 




19 




Aubervilliers (d 1 ) 


26 








20 






— (porte d') 


25 






Anvers (place d 1 ) 


20 






Aubriot Ill 




23 




Apennins (des) 


IB 






Aubry-le-Boucher . . . Ill 




23 




Aqueduc (de 1') 

— de la Vanne 


% 












1H 






18 


Auger 


31 












'->() 


Augereau / 

Auguste-Blanqui (boul.) . . 
— Comte IV, V 




11 








31 






. 20 


Arbalete (de 1') 






22 




. 19 


Afbre-Sec (de T) . . . Ill 




20 

17 








. 121 


Arc de triomphe du Car- 
rousel (PI. du Carr.). II 






29 


— Vacquerie I 




12 




— de TEtoile I 


12 




Aumale (d -1 ) 


31 






Arc-de-triompbe (de T) . . 


12 




Austerlitz (quai & pont d 1 ) 








Arcade (de V) II 


1818' 


V 






2o 


— (de Pj Conflans) . . . . • 


. 1 




66 


Auteuil (r., gare, & porte d 1 ) 




i 





SQUARES, PUBLIC BUILDINGS, etc. 







B. 


B 


G. 




B. 


B. 


G. 


Auteuil (place & pont d 1 ) . 




4 
10 

34 

16 

17 
21 

16 

32 
36 

20 
20 
21 


4 

18 

17 

23 
16 

5 

6 

9 

14 
13 

21 
23 

6 

4 

6 


Baudoyer(pl. ; r. deRivoli) V 




23 


97 






Baume (de la) II 


15 








. . IV 
II, IV 
. . 77/ 


8 


10 


Babylone (de) . . . 

Bac (du) 

Bachaumont. . . . 


Bayard II 

Bayen 

Be"arn (rue <fe impasse de) V 

Beaubourg Ill 

Beauce (de) Ill 

Beau-Grenelle (place) . . . 

Beaaharnais (cit£) 

Beaujolais (de) . . II, III 
Beaujon (rue <fe hopital) . 


12 
12 


15 

26 
23 
23 
7 
31 
21 




Bagneux (de) . . . 
— (de; Montr ouge) 


. . IV 




— (porte & route d 
Baillet 


e) . . . 
. . 7/7 
. . 277 
II, III 




R1 


Bailleul 

Baillif 


Beaumarchais (boul.) 777, V 
Beaune (de) IV 




26 

17 


i Q i 


Bailly 

Balagny 


. . Ill 


16 


24 

35 

20 

21 
21 


Beauregard 77/ 

Beaurepaire 777 

— (Pantin) 

Beausejour (boulevard) . . 

Beautreillis V 

Beauveau (place) ... 77 
Beaux-Arts (des). . . . IV 

— (<5cole des) IV 

— (palais des) 77 


35 


24 

27 

5 
25 

15 
20 
17 
15 

28 

8 
31 
35 

2*9 
36 

13 

22 
17 

14 

9 
30 

8 




Ballu 

Baltard 

Balzac (de) .... 

Banque de France . 
Banquier (du) . . . 


'. '. Ill 
... 7 

II, III 


17 
12 




— (Issy) 






Becon (de) 

Becquerel 

Beethoven 7 

Bel-Air (avenue du) . . . 


4 
20 




Barbanegre 

Barbes (boul.) 

— (rue) 

— (Issy) 


28 
23 
8 












— (station du) 

Belfort (de) 




3'! 


Barbet-de-Jouy . . 
Barbette 


. . IV 
. . Ill 




13 

26 












Bellanger 

Bellart IV 

Bellay (du) V 

Bellechasse (de) . . 77, IV 

— (place de) II 

Bellefond 

Belles-Feuilles (des) ... 7 
Belleville (de) 


10 

21 

30 




Bargue (rue & passage) . . 
Barouillere (de la) . . IV 


1*6 


13 












— (de la; Issy) . . 

Barrois 

Barthelemy .... 
Basfour (passage) . 


. . . V 

. . Ill 

. . IV 

. . Ill 


20 


23 

24 
13 

24 
29 

12 

18 
25 
25 

5 




— (de; Le Pre-St-Gervais). 

Bellevue (de) 

Belliard 


32 
33 

22 


Oh 


Bas-Meudon (porte 


lu) . . 

. . . / 

. . II 

. . . V 

le la) V 

r. des) 


17 
14 
13 

24 


Bellini .7 




13 


Basse - du - Rempart 
Bassompierre . . . 
Bastille (pi., b.,&r. 
Batignolles (boul. & 

— (square des) . . 

— (eimetiere des) . 


Bellot 

Belloy (de) 7 

Belzunce (de) 


26 
24 


9 

13 

6 
27 

25 


17 


Be'ne'dictines (couv. de) IV 


32 






Beranger 777 

— (Le Pre'-St-Gervais) . . . 

— (Malakoff) ....... 




Baudelique 


n 




Bercy (de) V 

— (boul. & pont de) . . . 




9S 


— (Levallois-Perret) 




7 






28 



LIST OP THE PRINCIPAL STREETS, 



B. R. O. 



B. R. Gh 



Bercy (entrepots, quai, port, 

& porte de) 

Berger 777 

Bergere (rue & cite) . . 77/ 

Bergers (des) 

B^rite IV 

Berlin (de) 

Berlioz 

— (place) . 

Bernardins (des) . . . . V 
Bernard-Palissy . ... IV 

Berne (de) 

Berri (de) 7 

Berryer 

Berthaud (imp.) . ... Ill 

Berthe 

Bertheau (pass.) 

Berthier Cbonlevard) . . . 

Berthollet 

Bertin-Poir^e . .... Ill 

Berton I 

Bertrand IV 

— (cit<S) 

Berze*lius 

Bessieres (boulevard) . . . 
Bestiaux (marche" aux). . . 
Bethune (qnai de) ... 7 

Bendant 

Beuret . 

Bezout 

Bibliotheque Mazarine IV 

— Rationale. . . . II, III 

Bicetre (porte de) 

Bichat /// 

— (hopital) 

Bidassoa (de la) 

Bienfaisance (de la) ... . 

Bievre (de) V 

Billancourt (rue & porte de) 
Billettes (temple des) 777, V 

Billy (quai de) 

Bineau (boul.) . 

Biot 

Birague (de) V 

Biscornet V 

Bisson 

Bitche (place de) .... 7 

Bizet I 

Blainville V 

Blaise 

— Desgoffe IV 

Blanche (cite) 

— (rue & place) 

Blancs-Manteaux (des). . . 

Bleue 

Bleus (cour des) . . . Ill 

Blomet IV 

Blondel 777 

Blottiere 

Bobillot 

Boccador J 



12 



Bochart-de-Saron 

Boetie (la) 77 

Boeuf (imp. du). . . . 777 
Boieldieu (place) ... 77 
Boileau (rue & imp.) . . . 

Boinod 

Bois (des) 

— (du) 

Bois-de-Boulogne (av. du) 7 

— — (rue du) 

(passage du). . . 777 

Bois-de-Eomainville 

(chemin du) 

Bois-le-Vent 

Boissiere 7 

Boissonnade 

Boissy-d'Anglas .... 77 

Boiton (passage) 

Bolivar 

Bonaparte IV 

Bondy (de) 777 

Bon-March 6 (magas. du) IV 
Bonne -Nouvelle (boul. & 

imp.) 777 

Bonnet 

Bons-Enfants (des) . 77, 777 

Borda 777 

Bordeaux (des) 

Bordelaise 

Borghese 

Borne (de la) 

Borrego (du) 

Borrome"e 

Bosquet (avenue & pass.) 7 

— (du) 

Bossuet 

Botzaris 

Bouchardon 777 

Boucher 777 

Bouchut IV 

Boucry 

Boudon (avenue) ..... 

Boudreau 77 

Bouffes-Parisiens (th.des) 77 
Boufflers (avenue) .... 

Bougainville IV 

Boulainvilliers (r. &stat. de) 
Boulangers (des) . . . . V 

Boulard 

Boulay (rue & passage) . . 
Boule 

— Rouge (de la) . . . 777 

Boulets (des) 

Boulogne (de) 

Bouloi (du) .... 77, 777 
Bouquet-de-Longch. (du) 7 
Bourbon (quai) V 

— le-Chateau IV 

Bourdon (boulevard) . . V 

(Neuilly) 

Bourdonnais (av. de la) . 7 



SQUARES, PUBLIC BUILDINGS, etc. 



B. E. G. 



B.R. O. 



Bonrdcmnais (rue & imp. des) 
III 

Bouret 

Bourg-rAbbe"(r. iftpass.) 777 
Botirgogne (de) . . 77, IV 

Bourgoin (pass.) 

Bourgon 

Bourg-Tibourg (du) . . . V 

Boursault 

Bourse (palais de la) . Ill 

— (rue <fe place de la) II, III 

— du Commerce . . . Ill 

— du Travail HI 

Boussingault 

Boutarel V 

Boutebrie V 

Bouvines (avenue <fe rue de) 

Boyer 

Brady (passage) .... Ill 
Brandon (rue & porte) . . 

Brantome Ill 

Braque (de) Ill 

Bre'a IV 

— (chapelle) 

Breche-aux Loups (de la) . 

Brgguet V 

Br^montier 

Bretagne (de) Ill 

Breteuil (av. & place de) I V 

Bretonvilliers V 

Brey 

Bre'zin 

Bridaine 

Brignole (de) I 

Brillat-Savarin 

Brisemiche Ill 

Brissac V 

Broca (rue et bSpital) . . . 

Brochant 

Brongniart 777 

Brosse (de) : . V 

Broussai's 

— (bopital) 

Brown-Sequard 

Bruant 

Brune (boulevard et rue) . 

Brunei 

Bruxelles (de) 

Bruyeres (des) 

Bucherie (de la) . . . . V 

Buci (de) IV 

Bud<5 V 

Buffon V 

— Oyce'e) 

Bugeaud (avenue et rue) 7 
Buisson-Saint-Louis (du) . 

Buot 

Bureau (passage du) .... 

Burnouf 

Burq 

Butte (de la) 



26 



26 



12 



25 



27 27 
31 



21 



20 



12 



Butte-aux-Cailles (de la). . 
Buttes-Cbaumont (pare des) 
Buzenval (de) 



Gabanis 

Cadet 777 

Caffarelli 777 

Cail 

Caillaux (impasse) 

Caillie' 

Cailloux (des) 

Caire (pi. , r., & pass, du) 777 
Caisse des Depots et Con- 
signations 77 

— d'Epargne 777 

Calais (de) 

Cambace'res 77 

Cambon 77 

Cambrai (de) 

Cambronne (rue <fe place) . 
Camille-Desmoulins .... 

— Douls 

— Mouquet 

Camoens (av. de) .... 7 

Oamou 7 

Campagne-Premiere .... 
Campo-Formio (de) .... 
Canal (du) 

— de TOurcq 

— St-Denis 

— St-Martin 

Candale 

Canettes (des) IV 

Canivet (du) IV 

Cantagrel 

Capiat 

Capron 

Capucines (boul. & r. des) 77 

Cardinale IV 

Cardinal-Lemoine . . . . V 
Cardinet'(rue & passage) . 

Carle-Hebert 

Cannes (des) V 

Carnavalet (muse'e) . . . V 
Carnot (avenue) 

— (lyc^e) 

— (me) 

— (boulevard) 

Caroline 

Caron V 

Carpeaux (rue & square) . 
Carrieres (des) 

— Oes) 

— (rue & quai des) .... 
Carrousel (place & pont du) 

II, IV 

Cascades (des) 

Casimir-Delavigne . . 7 V 

— Pe'rier IV 

Caaino de Parig 



30 



23 



31 



20 



27 



27 



24 



36 



27 



30 



17 



34 



26 



36 



18 



LIST OF THE PRINCIPAL STREETS, 



B. R. G. 



5.R.G 



Cassette IV 

Castagnary 

Castellane // 

Castex V 

Castiglione (de) . . . // 
Catacombes (entree des) . . 

Catinat Ill 

Cauchy 

Caulaincourt 

Caumartin II 

Gave" 

— (Levallois-Perret) . . . 

Cavendish 

Celestins (quai des) . . . V 

Cels 

Cendriers (des) ...... 

Censier 

Centenaire (avenue du) . . 
Centre (Au) 

— (du ; Le Pro-St-G-ervais) . 

Cerisaie (de la) V 

Cerisoles (de) / 

Ce'sar-Franck IV 

Cevennes (des) 

Chabanais // 

Cbabrand (cit<5) . ... II 

Chabrol (de) 

Chaillot (de) / 

Chaise (de la) IV 

Chalet (du) 

— (du; Boulogne) 

— (du; Montrouge) .... 

Chalgrin 

Chaligny 

Chalon (de) 

Chamaillards (des) .... 

Chanibertin 

Chambe'ry (de) 

Chambiges J 

Chambre des De'pute's. // 

Champagny IV 

Champ-de-rAlouette (dn) . 

— de Courses (& rue du) . 

— de Manoeuvres d'Issy . . 

— de-Mars / 

(du) / 

(stat. du) / 

— Marie (passage) .... 

Champeaux (des) 

Champerret (porte de) . . 
Championnet ....... 

Champollion V 

Champs-Elysees (av. des)/,// 
Chanaleilles (de) . . . IV 

Chanez 

Change (pont au) . . . . V 

Ohanoinesse V 

Chantiers (des) V 

Chantilly (de) 

Chantres (des) V 

Chanzy 



r.i- 



•At 



Chapelle (boulevard de la) 

— (cite* & place de la) . . 

— (rue <ft stat. de la) . . . 

— (porte de la) 

— Expiatoire // 

Chapon /// 

Chappe 

Chaptal 

— (college) 

— (rue; Levallois-Perret) . 
Charbonniere (de la) . . . 

Charcot 

Chardin / 

Chardon-Lagache 

Charente (quai de la) . . . 
Charenton 

— (de) 7 

— (porte de) 

Chariots (des) 

Charite (hopital de la) IV 
Charlemagne (lycee) . . V 

— (rue et passage) . . . V 

Charles V V 

Charles-Baudelaire .... 

— "Dallery (passage). . . . 

— Divry 

— Fourier 

— Laffitte 

— Nodier 

(Le Pre'-St-Gervais) . 

Chariot /// 

Charolais (du) 

Charonne (de) 

— (boulevard de) 

Charras II 

Charretiere V 

Chartres (de) 

— (de ; Sablonville) .... 
Chateau (dn) 

— (du; Issy) 

— (du ; Neuilly) 

— (du; Vanves) • 

— (boul. du) 

Chateaubriand / 

Chateau-d'Eau (dn) . . /// 
Chateau-des-Rentiers (du) . 
Chateaudun (de) 

— (place de) 

Chatean-Landon (de) . . . 

Chatelain 

Chatelet (pi. & theatre du) V 
Chatillon (avenue de) . . . 

— (porte de) 

Chauchat //, 111 

Chaudron 

Chaufourniers (des) .... 

Chaumont (porte) 

Chausse'e-d'Antin (de la) // 

— de la Muette 

Chausson (passage) . . /// 
Chauveau 



SQUARES, PUBLIC BUILDINGS, etc. 



B. R. G. 



B.E. G. 



Chauveau-Lagarde . . . II 
Chauvelot (rue et boul.). . 

— (Malakoff) 

Chauvin (passage) 

Chazelles 

Chemin-Vert (du) . . . . V 

— de-Fer (du) 

Cherche-Midi (du) . . . IV 

Che'rubini J7 

Cheval-Blanc (passage du) V 
Chevaleret (r. & chemin du) 

Chevallier 

Chevert IV 

Chevreuse (de ; b. da M.-P.) 

— dflsy) 

Ch^zy (de) 

Chine (de la) 

Choiseul (rue & pass, de) 77 
Choisy (avenue & porte de) 

Chomel IV 

Choron 

Christiani 

Christine IV, V 

Christophe-Colomb . . . I 

Cimarosa / 

Cimetiere du Mont-Parnasse 

— du Pere-Lachaise .... 

— Montmartre 

— St-Benoit (rue du) . . V 

— (avenue du) 

— (rue du) 

Cinq-Diamants (des) . . . 
Cirque (du) II 

— d'Hiver Ill 

— Fernando 

— Hippodrome 

— Medrano 

— (Nouveau) II 

Ciseaux (des) IV 

Cite" (ile de la) V 

— (rue & quai de la) . . V 
Citeaux (de) 

— (des) 

Civiale 

Civry (de) 

Clairault 

Clamart (de) 

Clapeyron 

Claude-Bernard 

— Decaen 

— Lorrain ........ 

— Pouillet 

— TilUer 

— Vellefaux 77/ 

Clausel 

Clavel 

Clef (de la) V 

Clement IV 

— Marot I 

Cler I 

CJ^ry (de) 77/ 



■:& 



Clichy (comm. & porte de) . 

— (rue de) 

— (av., place, <fc pass, de) . 

— (boul. de) 

Clignancourt (de) 

— (porte de) 

Clisson 

Cloche-Perce V 

Cloitre-Notre-Dame (du) V 
Cloitre-St-Merry (du) . 7/7 

Clopin V 

Clos (du) 

— Feuquieres (du) .... 

Clotilde V 

Clovis V 

— Hugues 

Cloys (des) 

Cluny (rue & muse'e de) V 
Cochin V 

— (hospice) 

— annexe (hopital) .... 

Coetlogon IV 

Colbert (rue <fc pass.) //, 77/ 

— (€cole) 

Coligny (de) V 

Colise'e (du) // 

Collange 

College de France . . . V 

Collette 

Colombe (de la) . . . . V 

— (de) 

Colonel-Oudot (du) .... 

Colonie (de la) 

Colonies (minist. des) . // 
Colonnes (des) . . //, /// 

— du Trone 

Combat (place du) 

Combes / 

Comete (de la) . . . .IV 
Commandant-Riviere(du) // 

Commandeur (du) 

Commerce (Bourse du) /// 

— (Chambre de) . . . /// 

— (Ecole de) 

— (Ministere du) . . . IV 

— (Tribunal de) . . . . V 

— (rue <fc place du) .... 

■ — (cour du) IV 

Commines /// 

Compans (rue & impasse) . 
Comptoir d'Escompte . /// 

Conciergerie V 

Concorde (pi. dtpontde la) // 

— (rue de la) 

Condamine (de la) .... 
Conde" (de) .... IV, V 
Condorcet 

— (lyc^e) // 

Conference (quai dela) /, // 
Conflans (<fe rue de) . . . . 

— (pont de) , 



26 



26 



16 



27 



15 



17 



19 



16 



LIST OF THE PRINCIPAL STREETS, 



B. B. G. 



B. B. G. 



Conseil cTEtat . . . . . 77 

— de Guerre IV 

Conservatoire (du) . . 777 

— de Musique .... 7/7 

— des Arts et Metiers 777 

Constance 

Constantine (de). . II, IV 
Constantinople (de) .... 
Conti (quai) . . . . IV,V 
Contrescarpe (place). . . V 
Convention (de la) . . . . 

Copemic 7 

Oopreaux 

Coq (av. du) V 

Coquilliere 777 

Corbeau (rue <fe pass.) . 777 

Corbineau 

Cordelieres (des) 

Corderie (de la) ... . Ill 

Coriolis 

Cormeilles (rue & place de) 

Corneille I F, V 

Cortambert 

Cortot 

Corvisart : . . 

Cossonnerie (de la) . . Ill 

Cotentin (du) 

Cotte (de) 

Cottin (passage) 

Coucne 

Courat 

Courbevoie 

— or de la Jatte (pont de) 
Courcelles (de) 77 

— (boulevard de) 

— (porte de) 

Cour des Comptes. . . 77 

— des-Noues (de la) ... 
Couronnes (r. & imp. des) 
Cours-la-Reine (av. du) 7, 77 

Courty (de) 77 

Cousin 

Coustou 

Coutant 

Coutellerie (de la) . . . V 

Couture s (des) 

Coatures-St-Gervais(des)777 

Coysevox 

Cr^pillon IV, V 

Creche (de la) 

Credit Foncier .... 77 

— Lyonnais 77 

Cre'mieux V 

Crevaux 

Crillon V 

Crimee (de) 

— (passage de) 

Croce"-Spinelli 

Croisic (square du) .... 

Croissant (du) 777 

Croix-des-Petits-Champs777 



20 



29 



18 



13 

21 

. 121 



14 



Croix-Nivert (de la). . . . 
Croix-Rouge (carr. de la) IV 

Cronstadt (de) 

Crouin 

Croulebarbe 

Crozatier 

Crussol (rue & cite de) . 777 

Cugnot .... 

Cujas V 

Cunin-Gridaine .... 77/ 

Cure (du) 

Curial 

Custine 

Cuvier , V 

Cygne (du) 777 

Cygnes (allee des) . . . .7 



Daguerre 

Dalayrac 77 

Dames (des) 

— Augustines (des) ... . 

— de la Trinity 

— de rAeaomption .... 

— de St-Joseph 

— St-Michel V 

Damesme 

Damiette (de) 777 

Damoy (passage) . . . . V 

Damrimont 

Dancourt (place & rue) . . 

Danicourt 

Dante (du) V 

Danton V 

— (Le Pre-St-Gervais) . . . 

— (Levallois-Perret) .... 

— (Issy) 

— (Malakoff) 

Dantzig (de) 

Danube (place du) .... 

Darboy 

Darcet 

Darcy . 

Dardan 

Dareau 

Daru 

Daubenton 

Daubigny (av. & rue) . . . 
Daudin (pass.) .... IV 
Daumesnil (av. & pi.) . . . 

— dac) 

Daunou 77 

Dauphine(pl.,r.,pass.)7F, V 

— (porte) 

Dautancourt 

Daval V 

David-d 1 Angers 

Daviel 

Davioud I . 

Davout (boulevard) ..... 
Davy (rue & pass.) . . . . 1 16 



SQUARES, PUBLIC BUILDINGS, etc. 9 

B. R. G. B.R.G. 



Debarcadere (du) 9 

— (du; Pantin) ■**• 










31 












9 




Debelleyme 777 




26 




Douai (de) 


20 






Debilly (quai) / 




12 




Douane (hot. & rue de la) III 




27 




Debrousses 7 




12 




Doubles (pont aux) . . . V 




22 








q 




Doudeauville (rue et pass.) 
Dragon (rue et cour du) IV 


'ii 






Decbambre (passage) . . . 






13 




16 




Dechargeurs (des) . . . 777 




Wl 






i k 






fj 






Droit (e"cole de) . . . . V 




19 




Decres 






14 


Drouot II, III 

Dubail (passage) .... Ill 


21 

97) 










07 




Deguingaud 

Dejazet (theatre) . . . 777 


10 








5 






27 




Dubois (passage) 


29 






Delaizement 


a 






Du Cange 






14 








16 
14 








17 


Delbet 






Due"e (de la) 




33 
H 






s 










Delessert (boul.) . . . . 7 




s 










31 


33 






Duguay-Trouin . ... IV 
Duguesclin (rue & pass.) I 




16 




Delta (du) 


23 








10 




Demarquay 


24 






Duhesme 


19 






Demours 


11 






Dulac (passage) . ... IV 






13 


Denain (boul. de) 


24 






Dulong 


14 






Denfert-Rochereau . . IV 






19 


Dumas (passage) 




31 










17 
17 








7,2 


Denoyez 




30 


Dumont-d'Urville .... 7 
Dunkerque (de) 


24 


12 




Deparcieux 






Depart (du) IV 

De^partement (du) 






16 








96 


26 






Duperre 


20 






Depinoy (rue & place) . . 






15 


Dupetit-Tnouars . ... Ill 




27 




Depots et Consignations 








Dupbot II 




18 




(caisse des) 77 




17 




Dupin IV 




16 




Deputes (cbambre des) II 




14 




Dupleix (place & me). . I 




10 








10 








n 




Desbordes-Valmore .... 




5 




Dupont-des-Loges . . . . I 




u 




Descartes V 








Dupuis . Ill 




27 




Descombes 


8 






Dupuytren IV, V 




19 




Desgenettes II 




14 




Duquesne (avenue) . . IV 




13 




De"sir (passage du) . . Ill 


24 






Durance (de la) 






31 


Desnouettes 






8 
14 

30 






29 




Desprez 






Durantin 

Duranton 


20 




Desrenaudes 


12 




7 


Dessous-des-Berges (du) . . 


Duras (de) II 




15 




Deterue 






18 


Duret '•■'./ 

Duris 


9 


33 




Deux-Gares (des) 


24 






— Ponts (des) V 




22 




Duroc IV 




13 




Dhier (passage) 


13 






Dussoubs Ill 




24 




Dhuis (de la) 




36 
25 


25 


Dutot 






13 


Diderot (boul.) V 




Dutuit (av.) II 




15 




— (rue; Issy) 






6 

14 








q 


Didot 






Duvergier 


99 






— (porte) 






15 

29 


Duvivier I, IV 




14 




Dieu Ill 




27 




Dijon (de) 




Docteur-Blanche (du) . . . 




1 




Eaux (passage des) ... 7 




8 




Domat V 






11 


Eble" IV 

Ecbaude" (de V) . . . .IV 




13 

19 




Dombasle 








9 


1 Ecbelle (de V) . ... II 




21 




Dominicaines de la Croix 




28 


1 Ecbiquier (de 1') . . . Ill 




24 




Domremy (de) .... 






26 1 Ecluses-Saint-Martin (des) . 


27 






Doria ' • ' 




=$3 1 


Ecole Centrale , . . . 777 




24 





10 



LIST OF THE PRINCIPAL STREETS, 



B. B. G. 



Ecole Colbert 

— Coloniale . .... IV 
■ — Commerciale 

— de Droit V 

— de Medecine V 

(rue & place de T) V 

— de Pharmacie . . . IV 

— des Beaux-Arts . . . IV 

— des Hautes-Etudes comm. 

— des Mines IV 

— des Ponts-et-Chauss. IV 

— d'Etat-Major . ... IV 

— Militaire IV 

— Normale Sup6rieure . V 

d'Auteuil et J.-B. Say 

dlnstitutrices .... 

— Polytechnique (& rue 
de 1') V 

— Pratique IV 

— Turgot Ill 

Ecoles (des) V 

— (avenue des) 

— (place des) 

E coliers (passage des) . . . 

Ecosse (d 1 ) V 

Ecouffes (des) V 

Edgar-Quinet (boulevard) . 

Edimbourg (d 1 ) 

Edmond-Valentin . . . . I 
Edouard-Manet 

— Pailleron 

Egalite' (de T) 

— (de 1'; Issy) 

Eginhard. V 

Eglise (de T) 

— (de r 5 Neuilly) 

Elyse'e (palais & r. de V) II 

— et-des-Beaux -Arts (pas- 
sage de T) 

Elze'vir Ill 

Emeriau 7 

Emile-AUez 

— Augier 

(boulevard) 

— Menier 

— Muller 

— Richard 

Enfant-Jesus (imp. del') IV 
Enfants-Assiste's (hosp. des) 

— Malades (hop. des) . IV 

— Rouges (marche* des) III 

Enfer (passage d 1 ) 

Enghien (hospice d 1 ) ... 

— (d 1 ) Ill 

English Church II 

Entrepot (de 1') . . . . Ill 

— (de r$ Conflans) .... 
Entrepreneurs (des) .... 
Envierges (rue, citl, & pas- 
sage des) 

Epe*e-de-Bois (de V) . . , . 



14 



22 



Eperon (de l 1 ) V 

Epinette (de T) 

Epinettes (rue & sq. des) . 

Erard 

Erfurth (d 1 ) IV 

Erlanger 

Ermitage (rue & villa de I) 

Emest-Renan IV 

(Issy) 

Ernestine 

Esperance (de T) 

Esquirol 

Est (de V). 

— (de 1*5 Sablonville) . . . 

— (gare de 1' ) 

Estrapade (rue<fepl. del 1 ) V 

Estr^es (d') IV 

Etats-Unis (place des) . I 

Etex . 

Etienne-Dolet ....... 

— Marcel Ill 

Etoile (rue & place de T) I 

Etuves (des) Ill 

Eugene-Delacroix 

— Gibez 

— Labiche 



Euler .......... J 

Eupatoria (d 1 ) 

Europe (pi. de T) 

Evangile (de V) ..... . 

Exelmans (boulevard) . . 
Exposition (de 1') . . . I 
Eylau (avenue d'). . . . I 



Fabert II 

Fabre-d'Eglantine 

Fagon • 

Faidherbe (av. & rue). . . 
Faisanderie (de la) ... . 

Falbert 

Falguiere (pi. & rue) . IV 
Fallempin (passage) .... 

Falret 

Faraday 

Faubourg -du- Temple (du) 
/// 

— Montmartre (du) . 

— Poissonniere (du). 

— St-Antoine (du) . 

— St -Denis (du) . . 

— St-Honore (du) . 

— St-Jacques (du) . 

— St-Martin (du) . . 
Faucheux (pass, des) . . . 
Fauconnier (du) . . . . V 

Favart //,/// 

Favorites (pass, des) .... 

Fazillau 

Fecamp (de) .....,, 



/// 
/// 
. V 
III 
II 

III 



SQUARES, PUBLIC BUILDINGS, etc. 



11 



B. E. G. 



B.E.G. 



Fe"de"ration (de la) . . . 7 




10 




Fortin (avenue) 






23 


Felicien-David 




4 




Fortuny 


11 






Felicite (de la) 


14 






Foss^s-St-Bernard (des) . V 




22 




Felix-Faure (av.) 






7 


— St-Jacques (des) . . . V 




19 






V/| 






Fouarre (du) 




VR> 




— (lycde) V 




19 




Foucault / 




12 




Fer-a-Moulin (du) 






22 


Foucber-Lepelletier .... 






8 


Ferdinand-Berthoud . . 777 




24 




Fouquet 


11 






— Duval V 




23 




Four (du) IV 




16 




• — Fabre 






10 


Fourcroy 

Fourcy (de) V 


12 






Fermat 






17 




23 




Ferme (de la) 


3 






Foyatier 


20 






Fermiers (des) 


14 






Francais (theatre) ... 7/ 




21 




Ferou IV 




19 




Franjaise 777 




24 




Ferronnerie (de la) . . 777 




23 




Francoeur 


19 












'><) 






Kl 


10 


Fetes (rue & place des) . . 


so 






— Gerard 




h 




33 






— Henry 


35 






Feuillade (de la) . //, /// 




21 




— Miron V 




23 




Feuillantines (des) . . . V 






19 


— Ier (maison de) . . 77 




15 




Feutrier 


20 






— — (rue <fe place) . 7, 77 




tb 




Feydeau Ill 




21 




Franc8-Bourgeois(des) 777, V 




23 






1 






Franklin (rue & square). 7 




H 




Fidelity (de la) ... . 77/ 


9/| 








f\ 










9 


Fr^micourt 




10 




Figuier (du) V 




22 




Freres (Ins ti tut des) . . IV 




13 












— (pensionnat des) .... 




5 




rue des) . Ill 




26 




— Hebert (des) 


7 






— St-Thomas (des) II, III 




21 




— Perier (des) 7 




12 




Fillettes (des) 


25 






Fresnel 7 




12 




Finances (min. des) . . II 




20 




Freycinet 7 




12 










11 


Friant 






18 




11 




Friedland (av. de) 


12 






Flandre (rue & pass, de) . 


2b 






Frochot 


20 






— (pont <fe route de) . . . 


2H 






Froidevaux 






1.7 


Flandrin (boulevard) . . . 




6 




Froissart 777 




26 






1fi 






Froment 




?,« 




— (quai aux) V 




22 




— (Levallois-Perret) .... 


7 






Fleurus (de) IV 




16 




Fromentel V 




19 




Florence (de) 


17 






Fromentin 


20 






Foin (du) V 




26 
27 




Fulton 






95 


Folie-Mericourt (de la) III 


Furstenberg (r. <fe pi. de) IV 




20 




— Regnault (rue & pass, de la) 




29 




Furtado-Heine. ...... 






14 


Folies-Bergere . . . . Ill 


21 














— Dramatiques .... Ill 




27 












— Marigny II 




15 








W 






^0 




Gabriel (avenue) ... 77 




15 






20 




6 






30 


— (de la) . . . 


Gabrielle 

Gaillard (cite) 


20 
18 






— au-Roi (de la) . . . Ill 




27 










24 


Gaillon 77 




21 




— du-But (de la) 


19 






Gaite" (rue <fe impasse de la) 






16 


— Mulard (de la) 






24 


— (theatre de la) . . . 777 




24 




Fontaines (des) .... Ill 




24 




Galande V 




22 












Galette (moulin de la) . . 
Galilee 7 


00 












15 




i? 




Fontenoy (place de) .... 




10 




Gallie'ra (r. & muse'e de) 7 




12 




Forest 


17 






Galvani 


H 






Forez (du) Ill 




23 




Gambetta (avenue) .... 


36 


36 




Forge-Royale (pass, de la) . 




w 








88 






24 




— (boulevard). ...,., 






5 



12 



LIST OF THE PRINCIPAL STREETS, 



B. E. G. 



B.B.G. 



Gambetta (rue) 


. 




15 


Gambey Ill 




27 










27 


Ganneron 


17 




Garanciere IV 




iy 




Garde-Meuble I 




u 




Gardes (des) 


k 






Gare de l'Est 


21 












>H 


— de Sceaux (anc), v. Paris- 








Denfert 






20 


— de Vincennes (Bastille) V 












lb 


— du Luxembourg . . V 




L9 


— du Nord 


21 






— Montparnasse 






16 


— du Quai-d'Orsay . . II 




L7 




— St-Lazare 


m 












>A 


— (boul. de la) 






26 


— (porte de la) 






60 


— (quai de la) ..... . 






29 


— (rue de la) 






2b 


— (rue de la; Vanves) . . 






9 


— de-Reuilly (rue de la) . 






31 


Gares (des Deux-) 


21 










10 






'2 




13 


— (imp.) IV 








16 


Gaston-de-St-Paul . . . . I 




12 


Gatbois (passage) 






28 






-13 




Gauron (impasse) 






15 


Gauthey 


16 






Gavarni I 




8 




Gay-Lussac V 




19 


19 


Gaz (rue cfc impasse du) . 






26 








21 






6 






29 




— Brunet (du) 


32 


— Foy (du) 


lb 






— Lasalle (du) 


30 






Gentilly (porte & stat. de) 






21 


Genty (passage) 






2b 


Geoffroy-Didelot 


14 






— Langeviu Ill 




23 




— Lasnier V 




23 




— Marie Ill 


21 






— St-Hilaire V 






22 






\ 




Georgeville I 




9 




Gdrando 


20 






GSrard 






23 
33 








Gerbier 




?,fl 


Gerbillon IV 




16 










14 


Germain-Pilon 


20 






GesvTes (quai de) , . . . V 




23 





Gide 

Ginoux 

Girardon 

Gironde (quai de la) . . . 

Git-le-Coeur V 

Glace (palais de) ..... 

Glaciere (de la) 

Glaises (rue des) 

Gluck II 

Gobelins (av., rue, <fe man. 

des) 

Godefroy (musee) . . . . V 
Godefroy-Cavaignac .... 
Godot-de-Mauroy . . . .II 

Goethe J 

Gomboust (rue & imp.) .// 

Goncourt (de) 

Gosselin 

Gossin 

Gourgaud (avenue) . . . .' 
Goutte-d'Or (de la) ... . 
Gouvieux (rue des) .... 
Gouvion-St-Cyr (boulevard) 

Gracieuse V 

Grammont (de) . ... .II 

Grand-Cerf (passage du) III 

Prieur^ (du) . ... Ill 

Grande- Arm^e (avenue dela) 

— Chaumiere (de la) . . . 

— Rue (Le Pre-St-Gervais) 
(Montrouge) 

— Truanderie (de la) . 777 
Grandes-Carrieres (en. des) 
Grands- Augustins (rue & quai 

des) V 

— Champs (des) 

— Degree V 

Grange-aux-Belles . . . Ill 
Grange-Bateliere (de la) III 

Gravel 

Gravelle (avenue de) . . . 

Graviers (des) 

Gravilliers (des). . . . Ill 
Greffulhe II 

— (rue & hospice de) . . . 
Gregoire-de-Tours . . . IV 
Grenelle (de) . ... 7, IV 

— (boul. de) I 

— (gare et quai de). . . . 

— (passage de) I 

— (pont et stat. de) . . . 

GrenSta Ill 

Grenier-St-Lazare . . . 7/2 

— sur-VEau V 

GrStry II 

Greuze I 

Gribeauval IV 

Grille (de la) 

Grilles (rue des) 

Grisons (passage des) . . . 
Gros 



18 



20 



22 



22 



23 



36 



24 



34 



14 



SQUARES, PUBLIC BUILDINGS, etc. 



13 



B. R. G. 



B. R. G. 



Grotte (de la) 

Guadeloupe (de la) ... . 

Gudin 

Guenegaud IV, V 

Guenot (cite") 

Guepine (impasse) . . . . V 
Guerin-Boisseau .... Ill 
Guerre (min. de la) II, IV 

Guersant 

Guichard 

Guilhem 

Guillaume-Tell 

Guilleminot 

Guillemites (des) . . . /// 

Guillou 

Guisarde IV 

Gustave-Courbet 

Gutenberg 

— (Boulogne) 

— (Le Pre-St-Gervais) . . . 
Guy-de-la-Brosse . . . . V 

Guyot 

Guy-Patin 

Gymnase (theatre du) . /// 



25 



Haies (des) 

Hainaut (du) 

Hal<Svy // 

Halle 

Halle aux Vins V 

Halles - Centrales . . . /// 

Halles (des) /// 

Hambourg (de) 

Hameau (du) 

Hamelin I 

Hanovre (de) // 

Harlay (de) V 

Harpe (de la) V 

Harvey 

Haudriettes (des) . . . 71/ 
Haussmann (boulevard) II 

Hautefeuille V 

Hauteville (d 1 ) . ... Ill 
Haut-Pave" (du) ..... F 

Hautpoul (d 1 ) 

Havre (du) II 

Haxo (rue & imp.) .... 

Hebert (place) 

Hebrard (passage) 

Helder (du) II 

Helene 

Henri-Chevreau 

— Lepage (cite - ) I 

— Martin (av.) I 

i (Vanves) 

— Monnier 

— Pape 

Henri IV (boul. & quai) V 

(lyc^e) V 

Henri-Regnault 



36 



Herault (de 1') 

H6ricart 

Hermel 

Harold /// 

Herschell IV 

Hippolyte-Maindron .... 
Hirondelle (de 1') .... V 
Hoche (avenue) 

— (Issy) 

— (Pantin) 

Honore-Chevalier ... IV 
Hopital (boul. <fc pi. de T) V 

— Militaire 

— Saint-Louis (de T) . . . 

— Wallace 

Horloge (quai de T) . . . V 

Hortense 

Hospices (des) 

Hospitalieres-Saint-Gervais 

(des) /// 

Hotel (de 1») 

— d'Argenson (imp. de V) V 

— Colbert (de 1'). ...... F 

— Dieu F 

— de Ville 7 

(rue, quai & pi. de l 1 ) F 

— — (& rue de F5 Courbe- 
voie) 

(rue de r$ Neuilly) . 

Houdart 

Houdon 

Huchette (de la) .... 7 

Huissiers (des) 

Humboldt 

Huygbens 

Hyacinthe (impasse) . . . F 



I£na (av. <fe place d 1 ) . . / 

— (pont d 1 ) / 

— (passage d') ...... 

Immaculee-Conc. (coll.de T) 
Immeubles-Industriels (des) 
Imprimerie Nationale . /// 
Industrie (de P) 

— (pass, de T) .... Ill 

Ingres (avenue) 

Inkermann (boul. & rond- 

point d 1 ) 

Innocents (des) .... // 
Institut (palais&pl.der)/F 

— Agronomique 

— Catholique IV 

— Pasteur 

Instruction Publique (minis- 

tere de V) IV 

Int^rieur (min. de T) . iT 
Invalides (boul. des) . . IV 

— (hotel des) IV 

— (espl. & pont des) //, IV 
Irlandais (des) 7 



33 



16 



25 



20 



23 



16 



14 



LIST OF THE PRINCIPAL STREETS, 



B. S. G. 



B.R.G. 



Islettes (des) ....... 

I8ly (de D // 

— (pass. <T) 

Issy 

— (chateau <T) 

— (pont d') 

— (porte d 1 ) 

— (rue d') 

— les-Moulineaux (quai d 1 ) 
Italie (avenue & porte d 1 ) 

— (place d') 

Italiens (boul. des) II, III 
Ivry 

— (av., porte, & pass, d 1 ) . 



Jabach (passage) . . . /// 

Jacob 17 

Jacquemont 

Jacques-Cceur . .... IV 

— Dulud 

Jans6n-de-Sailly (lycee) . . 
Jardin d'Acclimatation . . 

— du Palais-Eoyal .... 

— de Paris II 

— des Plantes V 

— (rue du) 

Jardinet (du) . . . . IV, V 

Jardiniers (des) 

Jardins-Saint-Paul (des) . V 

Jarente (de) V 

Jarry (cite) Ill 

Jasmin 

Javel (de) 

— (quai de) „ 

Jean-Baptiste-Dumas . , . 
Potin 

— Bart IV 

— Beausire (r. <fe imp.) . V 

— Bologne 

— Cottin 

— de-Beauvais V 

— Francois-Lupine .... 

— Goujon I, II 

— Jacques-Rousseau . Ill 

(Issy) 

(Ivry) 

— Lantier 77/ 

— Leclaire 

— Mace" 

— Nicot II 

— Robert 

— Tison Ill 

Jeanne 

— d'Arc (rue & pi.). . . . 

>— — (Issy) 

Jemmapes (quai de) . . Ill 

— (passage) 

Jenner I . 

Jessaint (de) 23 

Jeu-de-Boules (pass, du) III I . 



24 



25 



27 



27 



Jeu-de-Paume II 

JeunesAveugles(inst.des)/ V 
Jeunes De'tenus (prison des) 
Jeuneurs (des) .... Ill 
Jobert (passage) ...... 

Joinville (de) 

Joissans (passage) 

Jonas 

Jonquiere (de la) 

Jonquoy 

Joseph-Dijon 

Joubert II 

Jouffroy 

— (passage) Ill 

Jour (du) Ill 

Jourdan (boulevard) . . . 

Jouvenet 

Jouy (de) V 

Juge 

Juillet (colonne de^ Bast.) . 
Jules-C6sar V 

— Joffrin (place) 

— Lacheny 

— Sandeau (boul.) .... 

Julie 

Jnlien-Lacroix 

Jaliette-Lambert 

Jullien 

Jura (du) 

Jussienne (de la) . . . Ill 
Jussieu (rue & pi. de). . V 
Justice (palais de) . . . . V 

— (min. de la) . . . . II 

— (rue de la) 



Keller 

Kellermann (boulevard) . . 

Keppler I 

KltSber (av.) I 

— (Issy) 

— (Le Pre-St-Gervais) . . . 

— (Levallois-Perret). . . . 
Kuss 



La Barre (de) ....... 

Labat 

La Baume (de) . .... II 

Labie 

La Boetie . . 

Labois-Rouillon 

Laborde (rue & sq. de) . . 

Labordere 

La Bourdonnais (av. de). I 

Labrouste 

La Bruyere 

Lacaille 

Lacaze 

Lace"pede V 

La Chaise (de) . ... IV 



SQUARES, PUBLIC BUILDINGS, etc. 



15 



B. K. G. 



B.B.G. 



Lachambeaudie (place) 
Lacharriere 


... . ' : . 28 
. . .29 


La Condamine (de) . 
Lacordaire 


. . 17 
.... 7 




. 16 


Lacue'e 

Laennec (hopital) . . 

La Fayette 

>— (place) 


. V . 25 
IV . 16 
// 21 

. . 24 


Laferriere (passage) . . 
La Feuillade (de) . . . 
Laffitte ......//, 

La Fontaine (de) . . . 

Laghouat (de) 

Lagille 


/// . 21 
/// 2121 

... 4 
. . 23 
. 16 






Lagrange 


. V . 22 

26 


Lahire 


Lainet (passage) .... 


. . .28 


Lakanal 


... 10 


— (Montrouge) .... 
Lalande 


. . . . 18 


Lallier 

Lamande 

Lamarck 


. . 20 

20 


Lamartine 


21 


— (square) 


. 6 


Lamblardie ..... 


. . .31 


Lambrechts 1 

La Motte-Picquet (av. de) I . 10 
Lancette (de la) . . 31 


Lancry (de) 

Landrieu (passage) . . 
Languedoc (de) .... 


/// 27 27 
. / . 11 
. . .22 


Lannes (boulevard) . . 
Lannois .... 


. V . 19 
..96 
. . 7 


Lantier .... 


16 


La Pe'rouse 


. / . 12 
. F . 22 
. . . 25 
. . . . 10 
/// . 20 
, // .15 
/// . 23 
. . 23 
ice) . . 17 
21 


Laplace 


La Quintinie ..... 

Lard (au) . 

La Reine (cours) . . I 
La Reynie (de) .... 
Lariboisiere (hopital) . 
La Rochefoucauld (hosp 
- (de) . " 


Laromiguiere . . . 
Late"rale . . . 


. . 1 

. F . .19 

IV . 17 

a 


Latour-Maubourg (boul. & 
Latran (de) .... . F . 19 
Laugier 111 


Laumiere (avenue de). 
Lauriston 


. . 29 
. / 1. 9 



Lauzun 

Lavandieres (des) . . . Ill 

Lavoisier II 

La Vrilliere (de). . II, III 
Lazaristea (les) . ... IV 

Leblanc 

Lebouis 

Lebouteux 

Le Brun 

Le"cluse 

Leconte-de-Lisle 

Lecourbe IV 

Lecuirot 

Ledion 

Ledru-Rollin (avenue). . F 

(Malakoff) 

(Montrouge) 

Lefevre (boulevard) .... 

Lefort 

Legendre 

Legion d'Honneur (pal.) // 

Legnand . . 

Le Goff. V 

Legouve Ill 

Legrand 

Leibnitz 

Lemaignan 

Lemercier 

Lemiere (cit£) 

Lemoine (passage) . . 77/ 

Lemoult 

Le Notre . . / 

Le'o-Delibes / 

Le"on 

— Cladel Ill 

Le"onard-de-Vinci . . . . I 
L^once-Reynaud .... 7 

Leonidas (passage) 

Leonie 

Lepage (cite") 

Le Peletier .... II, III 

Lepic 

Le Regrattier V 

Leriche 

Leroux . / 

Lesage 

— (cite") 

Lesdiguieres F 

Lesseps (de) 

— (de 5 Neuilly) ...... 

Le Sueur 

Le Tasse / 

Letellier ......... 

Letort 

Levallois-Perret 

Leve*e (passage) 

Levert , 

LeVis (rue & place de) . . 

Lhomme (passage) 

Lhomond F 

Lhuillier 



18 



14 



17 



25 



22 



17 



12 



19 



24 



23 



12 



17 



30 



10 



26 



16 



LIST OF THE PRINCIPAL STREETS, 



B. R.G. 



I. R. O. 



33 



Liancourt 

Liberte" (de la) 

— (avenue de la) 

Li«5gat (cheniin du) .... 
Lilas (des) 

— (avenue des) 

Lille (de) II, IV 

Lincoln I 

Lingerie (de la) . . . . HI 

Linne" V 

Linois 

Lions (de<>) V 

— (cour des) HI 

Lisbonne (de) 

Littre- IV 

Lobau (place) V 

Lobineau IV 

Logelbach (de) 

Loing (du) 

Loire (quai de la) 

Lombards (des) .... HI 

Londres (de) 

Longchanip (rue & rond-point 

de) . . / 

— (de ; Neuilly) 

Loos (de) HI 

Lord-Byron I 

Lorraine (de) 

— (de; Levallois-Perret) . 

Louis-Blanc 

(Levallois-Perret) . . 

(Malakoff) 

— Braille 

— David 

— le-Grand H 

— le-Grand (lyce"e) . . . V 

— Philippe V 

(Neuilly) 

— Thuillier V 

Lonrcine or Broca (bop. de) 
Lourniel (rue & imp.). . . 
Louvois (rue & square) 

Louvre (pal., niusees, quai, 

«fc rue du) . . . . //, HI 

Lowendal (av. de). . . IV 

Lubeck (de) I 

Lnlli // 

Lune (de la) /// 

LuneVille (de) 

Lunnin (du) 

Lutece (de) V 

Luxembourg (du) 

— (palais & jardin du) IV 

— (gare du) V 

Luynes (rue & square de) 

Lyannes (des) 

Lyct*e (boul. du) 

Lyon (de) V 

— (gare de) 



17 



30 



•:■: 



is 



IV 



'25 



Mabillon 

Macdonald (boulevard) . . 

Mace 

Mae-Mabon 

Madame IV 

Madeleine (boul., e"gl., mar- 
che\ & pi. dela) . . . .II 

— (pass. & gal. de la). .II 

Mademoiselle 

Madone (de la) 

Madrid (de) 

— (avenue de) 

— (porte de) 

Magasins Ge'ne'raux .... 

Magdebourg (de) I 

Magellan I 

Magenta (boul. <fe cite de) III 

Mail (du) /// 

Maillot (boulevard) .... 

— (porte) 

Main-d'Or (cour de la) . . 
Maine (av.,pl., &rue du) IV 
Maire (rue au) .... /// 
Mairie du I er arrondiss. /// 



31 



12 



113 



10 



33 



24 



/// 
/// 
. V 
. V 
IV 



II 
III 
III 



- du II« - ■ 

— du HI* 

— du IV« 

— du V« 

— du Vie 

— du Vile 

— du Vllle - 

— du IXe 

— du X« 

— du Xle --.... 

— du XHe - - .... 

— du Xllle - - .... 

— du XIV« - - .... 

— du XV* - - .... 

— du XVIe - - .... 

— du XVIIe - - .... 

— du XVIIIe - - .... 

— du XIXe - - .... 

— du XX« - - .... 

— (rue de la) 

Maison-Dieu (de la) ... . 

Maistre (de) 

Maitre-Albert V 

Malakoff 

— (avenue de) / 

— (de) • 

Malaquais (quai) . . . IV 

Malar / 

Malebrancbe V 

Malesherbes (boulevard) 77 

— (place) • 

Malber V 

Malmaisons (des) 

Malte (de) /// 

Malte-Brun 

Mandar HI 

Manin 



21 



16 



33 



17 



■2'1 



14 



2i 



29 



SQUARES, PUBLIC BUILDINGS, etc. 



17 



B. R. G. 



B.R.G. 



Mansart 

Manuel 

Manutention (de la). . . . 

Maraichers (des) 

Marais (rue <fe imp. des) /// 

Marbeau 

Marbeuf / 

Marc-Seguin 

Marcadet 

Marceau (avenue) . . . . I 

— (rue ; Issy) 

— (rue; Ivry) 

March6-aux-.Bestiaux . . . 

— des-Blancs Manteaux /// 

— aux Fleurs V 

— de-Montrouge (pi. du) . 

— Neuf (quai du) . . . V 

— Saint-Honore" (du) . .// 

— (pass, du) Ill 

— (du ; Levallois-Perret) . 

— (du; Neuilly) 

Mare (de la) 

Marengo (de) . . . //, /// 

Marguerin 

Margueritte 

Marguettes (des) 

Marianne- Colombier .... 
Marie (pont) V 

— et-Louise /// 

— Staart /// 

— The'rese (hospice) . . . 

Marignan (de) / 

Marigny (avenue) . . . II 
Marine (min. de la) . . // 
Mariniers (sen tier des) . . 

Marivaux (de) II 

Marjolin 

Marne (quai de la) .... 
Maroc (rue & place du) . . 

Maronites (des) 

Marronniers (des) 

Marseille (de) /// 

Marsollier II 

Martel /// 

Martignac (rue & cit6) IV 

Martin-Bernard 

Martinval 

Martre 

Martyrs (des) 

Mass^na (boulevard). . . . 

Massenet 

Masseran IV 

Massillon V 

Masson 

Maternite (hospice de la) . 

Mathis 

Mathurin-Re'gnier 

Mathurins (des) .... II 
Matignon (rue & avenue) // 
Maubert (place & imp.) . V 
Maubeuge (de) 



24 



16 



24 



Maublanc 

Mauconseil /// 

Maure (du) /// 

Maurice (passage) 

Mauvais-Garcons (des) . . V 

Mayet IV 

Mayran 

Mazagran(rue<fcimp de) /// 

Mazarine IV 

Mazas (place) V 

Mazet V 

Meaux (de) 

Mechain 

Me"d«5ah (de) 

M^decine (e"cole de) . . V 

Me"dicis (de) IV,V 

M<Sgisserie(quaidela)i77, V 
Mehul // 

— (Le Pre"-St-Gervais). . . 

Meinadier 

Meisaonier 

Manages (square des) . IV 

Me"nars //,/// 

M^nilmontant (de) .... 

— (porte & rue de) .... 

— (boul. & passage de) . . 

Mercosur 

Merimee 

Merlin 

Meslay Ill 

Mesnil / 

Messageries (des) 

Messine (av. & square de) // 

Metz (quai de) 

Meuniers (des) 

Meyerbeer // 

Me"zieres (de) IV 

Michal 

Michel-Ange 

— Bizot 

— Hidalgo 

— le-Comte /// 

Michelet 

— (Issy) 

— (avenue) 

— (lycee) 

— (quai) 

Mlchodiere (de la). . . .// 
Midi or Ricord (hopital du) 

— (du) 

Mignon V 

Mignottes (des) 

Milan (de) 

Militaire (c^cole) . ... IV 

Milly 

Milton (rue & cite) .... 

Minard (de) 

Mines (e"cole des) . . . IV 

Minimes (des) V 

Ministere de FAgricultureiy 

\ — de la Guerre . . //, IV 



10 



21 



'>'.) 



2m 



52 



32 



23 



19 



19 



Baedeker. Paris. 10th Edit. 



18 



LIST OF THE PRINCIPAL STREETS, 







B. 


R 


G. 




B. 


R 


G. 


Ministere de la Justice 


11 




It 




.Uontgolfier HI 




24 




— de la Marine. . . . 


II 




lb 




Montholon (rue & square) 


21 






— de llnstruction Publ 


. IV 




li 




Montiboeufa (dea) 




36 




— de rinte>ieur . . . 


II 




15 




Montlonia 




32 




— des Affaires Etrang. 


II 




14 




Jlontmartre 77/ 




21 




-=■ dea Colonies .... 


11 




17 




— (boulevard & cite) . Ill 




21 




— des Finances .... 


11 




2l 




— (cimetiere) 


1< 






—*- des Travanx Pnblics 


IV 




17 




Montmorency(av.<febonl. de) 




1 




— dn Commerce et de Tln- 








— (de) Ill 




23 




dustrie 


IV 




14 




Montorgneil /// 




21 




Miollis 






l( 




Mont-Parnaase (du) . . IV 






16 


Mirabeau (rue & pont) 






4 




(boul. du). . . . IV 






16 










3D 


(cimetiere) 

(gare) IV 






i<; 


Miracles (cour des) . . 


III 




24 








16 


Mirbel (de) 








~)>) 






21 




Miromesnil (de) .... 


II 


15 


15 




Montreuil (porte de) . . . 




34 




Misaions-Etrangerea . . 
Mogador 


IV 




10 




— (de) 




31 




II 


IS 






— (de; Pantin) 


34 






Moines (dea) 




10 






Montrosier 


6 






Moliere (fontaine & rue 


) TT 




21 




Montrouge 






Lft 








5 










16 


— (passage) 


in 




93 










IS 








33 


Monts (cbemin des) .... 
Montsouris (av. & pare) . . 






B 


Molitor (porte) .... 






1 








21 










I 


Mont-Tbabor (du) ... 77 
Mont-Tonnerre (imp. du) IV 




IS 




Monceau (de) 




15 










13 


— (pare de) 




lb 






Montyon (de) 777 


21 






Moncey (rue & square) 










Morand 




30 




— (place) or pi. Clichy 
Monde'tour 




n 












14 


in 




28 




Morean V 




'25 




Mondovi (de) 


ii 




IS 




Morere 






IS 


Monge (dcole) 










Moret 




30 




— (rue, pi., & sq.) . . 


. V 




22 


22 


Morgue (la) V 




22 




Mongolfier 




34 






Morillons (des) 






11 


Monjol 




2/ 






Morland (boul. <fe pont) . V 




25 




Monnaie (de la) ... . 


in 




2(J 




Mornay V 




25 




Monnaies (botel des) 1 \ 


\ v 




20 




Mortier (bonlevard) .... 


36 


36 




Monsieur 


IV 




13 




Jloscou (de) 


IS 






— le-Prince . . . . 7F, F 




Lt) 




Moselle (de la) 


2 l J 






Monsigny 


11 




21 




Motte-Picquet (av. de la) 7,7 V 




10 




Montagne-Sainte-Genevieve 








Mouffetard V 






22 


(de la) 


. V 




22 




Monlin-de-Beurre (du). . . 






13 


Montaigne 


II 




lb 




— de-la-Pointe (du) .... 






24 


- (av.) / 


11 




12 




— des-Pre"a (dn) 






23 


— (lyc£e) 


IV 






iy 


Moulineaux (avenue des) . 






2 


Montalivet 


II 




15 


17 








3 


Montbrun (rue & pass.) 


Moulinet (du) 






24 


Muntcalm 




19 






Moulins (des) 77 




21 




Muut-Cenis (da) .... 




m 






Moulin- Vert (rue & imp. du) 






17 






M 






Mousquetaires (pass, des) . 






'>S 


Mont-de-Pi^te" 


III 

IV 




23 
Ifi 






23 


31 




Moussy (de) .... 777, V 






Mont-Dore (du) .... 




17 






Mouton-Duvernet 






17 


Mnntebello (quai de) . 


. V 




22 




Mouzai'a (de) 


33 






Montempoivre (r. & porte de) 






84 


Mozart 




5 




Montenotte (de) .... 




12 






Muette (chat. & porte de la) 




5 




Montera 






84 




Mulbouse (de) .... 777 




M 




M ntesquieu . . . 77, 


III 




20 




Muller . . . .' 


20 






Dlontessny (de) .... 


J 




1 I 




Mnrat (boulevard) .... 
Murillo 




I 


1 


Montfaucon 


IV 




19 




15 






Moutgallet 








31 


— (Vanves) 






9 



SQUARES, PUBLIC BUILDINGS, etc. 



19 





B 


R 


. G 




B. 


R. 


G. 


Muse'e Carnavalet .... V 


15 
21 

10 

23 


26 

12 
12 

8 
8 

30 

14 
31 


21 

29 
26 
33 
2! 

22 

32 
22 

9 


Notre-Dame (pont) . . . V 
— (Issy) 




23 


H 








4 

24 

12 

30 

8 

24 
24 

23 
16 

21 
18 

21 

30 
20 




— Guimet I 

— Gustave-Moreau .... 

— de Sculpt. Compare'e . I 

— d'Ethnographie . . . . I 


— de - Bonne - Nouvelle 
(£glise & rue) .... 777 

— de-Clignancourt (e"gl.) . 

— de Consolation .... 7 


19 




Myrrha . . . 


— de-la-Gare (egl.) .... 

— de-Grace (eglise) .... 

— de-Lorette (rue & Eglise) 

— de-Nazareth .... Ill 

— de-Recouvrance . . 77/ 

— des-Blancs-Manteaux 
(e'glise & rue) .... 777 

— des-Champs (r. & <*gl.) / V 

— des-Victoires (rue, place, 
& Eglise) 777 

Nouveau Cirque ....// 
Nouveaut^s (th. des) . .77 

Oberkampf 777 

Obligado (d 1 ) 

Oblin 777 


21 

9 


26 


Nansoaty 

Nantes (de) 

Naples (de) 

Napoleon I« r (tombeau de) 
IV 

Nation (de la) 

— (place de la) 

National (boulevard) . . . 


28 

15 

23 
13 


16 


















Nati vite (place & ^glisedela) 

Navarin (de) 

Navarre (de) V 

Navier 


21 
16 

5 
2 
3 

4 


26 
13 
27 
20 
20 

31 

30 

20 
12 

32 


19 


— (av. & carrefour de T) IV 
Octave-Feuillet 




5 

19 

13 


19 


— (hospice) IV 

Nemours (de) 

Nesle (de) IV, V 

Neuf (Pont) .... 777, V 
Neuilly (av. de) 

— (pont de) 

— (porte de) 

— Levallois (hippodr. de) . 


Od^on (place, rue, & th. 

de T) IV, V 

Odessa (d') IV 

Odiot (cit<S) 7 

Offemont (d') 

Oise (quai de V) 

Oiseaux (couvent des) . IV 
— (des) . 


12 
14 

28 


16 

|0 


Olier 






s 




Olive m 

Olivet (d 1 ) IV 

Olivier-de-Serres (rue & pass.) 


25 


J 3 

29 
21 

18 
21 

20 

20 
20 
33 

24 
30 

17 




Ne"va (de la) 

Nevers (de) IV, V 


12 

22 


11 


Ney (boulevard) 


Ope>a (av. de V) . . . . 77 

— (passage de T). . . . 77 

— (th., pi., & sq. de l 1 ) 77 

— Comique (th. de 1') . 77 

Oran (d 1 ) 

Oratoire(r.&^gl.deF)77,777 


21 

23 

19 










Nicolas-Chuquet 

— Flamel 7/7 

— Houel V 


11 
20 


23 

5 

24 
12 
36 

22 






Orfevres (quai des) ... 7 

— (des) 777 

Orfila 




Niel 

Nil (du) Ill 


11 




Nitot I 


Orgues (pass, des) . . . 777 
Orillon (rue & impasse de I 1 ) 
Orleans (av. d') 

— (anc. gare d') . . . . V 

— (nouvelle gare d" 1 ) . 77 






Nollet 


17 

24 
9 


17 


Nonnains-d'Hyeres (des) V 

Nord (gare du) 

— (rue du) 


25 

IK 


— (quai d 1 ) V 

— (rue d') 


5 


22 




Normandie (de) .... Ill 


20 


26 
22 


14 


Notre-Dame (e'glise) . . . V 


Ormeaux (des) 




31 





20 



LIST OF THE PRINCIPAL STREETS, 



B. K. G. 



B.B.G. 



Ormesson (d') V 

Ornano (boulevard) .... 
Orsay (quai d') . . 7, // 

Orsel (d 1 ) 

Orteaux (des) 

Ortolan 7 

Oudinot IV 

Oudry 

Oaest (rue & iuipasse de V) 

— (de P; Sablonville) . . . 
Ourcq (de V) 

— (canal de V) 

Ours (aux) /// 



Paillet V 

Paix (de la) II 

Pajol 

Palais (boulevard du). . V 

— Bourbon (place du) .II 

— des Arts-Lib£raux . . / 

— des Beaux-Arts. . . . I 

— de Glace i/ 

— des Machines . . . . / 

Palais-Royal i7 

(place du) . . . .II 

Palatine IV 

Palestine (de) 

Palestro (de) Ill 

Palikao (de) 

Palmyre 

Panoramas (r.& pass.des)i77 

Panoyaux (des) 

Pantheon (temple it pi. du) V 

Pantin 

— - (de; Le Pre-St-Gervais) 

Pnon-Blanc (dn) V 

Pape-Carpentier . ... IV 

Papillon 

Paradis (de) /// 

Pare (du) 

Parcheminerie (de la) . . V 
Parc-Royal (du) .... Ill 
Paris (de ; Clicby) 

— (de ; Courbevoie) .... 

— (de ; Les Lilas) 

— (de; Malakoff) 

— (de; Pantin) 

— (de; route de Bagnolet) 
Paris-Denfert (station de) . 

Parme (de) 

Parmentier (avenue) . 77/ 

— (rue) 

— (Courbevoie) 

— (Malakoff) 

Partants (des) 

Parvis- Notre -Dame (place 

du) V 

Pascal 

Pas-de-la-Mule (du) . . . V 
Pasquier 



ay 



33 






22 



20 



12 



20 



VI 



Passy (pont & quai de) . / 

— (rue <fc place de) . . . J 

— (station de) 

Pasteur (boulevard) . . IV 

— (Institut) 

Pastourelle /// 

Patay (rue & passage) . . . 
Paul-Baudry / 

— Bert 

— Lelong Ill 

— Louis-Courier . . . IV 

— Verlaine (place) .... 

Pauquet / 

Pavde V 

Pavilion (du) 

Pavilions (des) 

— (des; Cbarenton) .... 
Payen 

— (impasse) 

Payenne Ill 

Peclet 

Pel^e (ruelle) .' .' .' .' .' Ill 
Pelican (du) ... //, /// 

Pelleport 

Penthievre (de) . ... II 
Pe"piniere (de la) ... II 

Pequay Ill 

Perceval 

Perchamps (rue & place des) 

Perche (du) /// 

Percier (avenue) . . . II 

Perdonnet 

Pereire (boulevard <fe place) 
Pere-Lacbaise (cimet. du) . 

Pergolese 

Perichaux (chem. des) . . . 

PtSrignon IV 

Perle (de la) /// 

— (de la; Malakoff) . . . 

Pernelle Ill 

Pernety 

Perrault Ill 

Perre"e Ill 

Perret (passage) 

Perricbont (avenue) .... 

Perrier 

Perronet IV 

— (Neuilly) 

Perrot 

P6te\ 

Petiet 

Pe'tion 

Petit 

Petit-Chateau (du) 

— Muse (du) V 

— Pont (& rue du) . . . V 
Petite-Arche (de la) ... . 

— Boucherie (passage de la) 

IV 

— Pierre (de la) 

— Rue de Paris 



SQUARES, PUBLIC BUILDINGS, etc. 



21 



B. R. G. 



JB.R. G, 



Petites-Ecuries (cour, pas- 
sage, <fe rue des) . . /// 
Petits-Carreaux (des) . /// 

— Champs (des). . II, III 

— Hotels (des) 

— Peres (r. Apl.des) //, /// 

P^trarqie / 

Pe"trelle 

Peupliers (avenue des) . . 

— (rue <fc poterne des) . . 

— (des) 

Phal9bourg (de) 

Pharmacie (e*cole de) . IV 

Philibert-Delorme 

Philippe-Auguste (avenue). 
Philippe-de-Girard .... 

Piat 

Picardie (de) /// 

Piccini 

Picot J 

Picpus (de) 

— (boulevard de) 

— (cim., orat., <fcs£min. de) 

— (porte de) 

Pierre-au-Lard .... /// 
Pierre Charron / 

— Gue"rin 

— Larousse 

(Malakoff) 

— le-Grand 

— Leroux IV 

— Lescot /// 

— Lev^e /// 

— Nicole 

— Nys 

— Picard 

— Sarrazin V 

Pigalle (rue & place) . . . 

Pillet-Will // 

Pinel (rue & place) .... 
Pitie" (hop. & rue de la) V 

Pixe"recourt 

Plaine (de la) 

— (poterne de la) 

Plaisance (porte de) .... 

Planchat 

Planche (de la) . . . . IV 
Planchette (imp. de la) 777 
Plantes (rue & cite des) . . 
Plat-d'Etain (du) . . . Ill 
Plateau (du) '30 

— (du ; Les Lilas) 36 

— (du ; Malakoff) . . • . . 
Platre (du) Ill 

— (passage du) V 

Platrieres (chemin des) . . 

Plumet 

Poccard 

Point-du-Jour (boul. du). . 

I (rue & quai du) . . . 

(porte du) 



32 



35 



19 



Pointe-dlvry (de la) ... 
Poissonniere Ill 

— (boul.) /// 

Poissonniers (rue & imp. des) 

— (des; Neuilly) 

Poissy (de) V 

Poitevins (des) V 

Poitiers (de) 

Poitou (de) Ill 

Poliveau (de) 

Polonceau 

Polytechnique (e"cole) . . V 

Pomard (de) 

Pommiers (des) 

Pompe (de la) I 

Ponceau (rue & pass, du)/// 

Poncelet 

Pondiche'ry (de) 

Poniatowski (boulevard) . 
Pont (du) 

— aux-Biches (imp. du) /// 

— aux-Choux (du) . . /// 

— de-Lodi (du) V 

Ponthieu (de) . ... I, II 
Pont-Louis-Philippe . . V 

— Neuf (du) /// 

(pass, du) . ... IV 

(place du) V 

Pontoise (de) V 

Ponts-et-Chauss. (ec. des) / V 

Popincourt 

Portalis (avenue & rue) // 
Port-aux-Lions (du) .... 
Porte-Foin /// 

— Maillot (rond-point de la) 

— St-Martin (th. de la) /// 
Port-Mahon (du) . . . II 
Port-Royal (boul. de) . . . 

Possoz (place) 

Postes (administr. des) /// 

Pot-de-Fer (du) V 

Poteau (du) 

Poterie (de la) ... . /// 
Pouchet 

— (porte) 

Poulet 

Poulletier V 

Poussin 

Pradier 

Prague (de) 

Prairies (des) 

Pre" (du) 

Pre-aux-Clercs (du) . . IV 

— St-Gervais (le) 

(rue du) 

(porte du) 

Precheurs (des) .... /// 
Prefecture de la Seine // 

— de Police V 

Presbourg (de) / 

Presentation (de la) ... . 



27 



23 



22 






12 



10 



33 



15 



24 



33 



22 



20 



22 



LIST OF THE PRINCIPAL STREETS, 



b. R. a. 



b. R. o. 



Presles (rue <fe imp. de) . I 

Pressoir (du) 

Pretres (des) V 

— S t- Germain -l'Auxerrois 
(des) HI 

— St-Severin (des) . . . V 

Pre'vost (passage) 

Prevot (du) V 

Pre'voyance (de la) ... . 

Priestley 

Primeveres (imp. des) . Ill 
Princes (passage des) II, /// 

Princesse IV 

Procession (de la) 

Prony 

Prosper-Goubaux (place) . 

Proudhon 

Prouvaires (des) . . . Ill 
Provencaux (imp. des). Ill 
Provence (de) . . . II, Ill 
Providence (de la) .... 

Prud'hon (avenue) 

Puits-de-rErmite (du) . . V 

Puteaux 

Puvis-de-Chavannes .... 

Py (de la) 

Pyramides (des). . . . II 
Pyre'nees (rue & place des) 



Quatrefages V 

Quatre-Fils (des) . . . Ill 

— Septembre (du) . . .II 
(du; Malakoff) . . . 

— Vents (des) IV 

Quinault 

Quincampoix Ill 

Quintinie (de La) 

Quinze-Vingts (hospice des") 

V 



Rabelais II 

Rachel (avenue) 

Racine IV, V 

— (lyce'e) 

Radziwill II, III 

Raffet 

Raguinot (passage) .... 

Rambouillet (de) 

Rambuteau (de). . . . Ill 

Rameau II 

Ramey 

Rampon Ill 

Ramponneau 

Ranelagh fav. & rue du) . 
Range'e (chemin de la) . . 

Raoul (passage) 

Rapee (quai de la) . . . V 
Raphael (avenue) 

— (Vanves) 

Rapp (avenue) I 



IS 



22 



28 



26 



Raspail (boul.) . ... IV 

— (Levallois-Perret) .... 

— (Vanves) 

Rataud V 

Ravignan 

Raymond 

Raynaud (cite") 

Raynouard / 

Re'ale (de la) /// 

Re'aumur /// 

Rebeval 

Re'collets (rue & passage des) 

/// 
Reculettes (rnelle des) . . 

Regard (in) IV 

Regis IV 

Regnault 

Reille (avenue & imp.) . . 

Reims (de) V 

Reine (cours la) .../,// 

— Blanche (de la) .... 

Rembrandt 

Re'niusat (de) 

Renaissance (de la) ... / 

— (theatre de la) . . . 777 

Renard (du) Ill 

Rendez-vous (du) 

Rennequin 

Rennes (pi. & rue de). IV 
Re'publique (av. de la) III 

— (place de la) . . . . Ill 

— (pi. de la 5 Levall.-Perret) 

— (avenue de la •, Malakoff) 

— (av. de la; Montrouge) . 

— (rue de la; Issy) .... 

— (rue de la-, Vanves) . . 

— (theatre de la) . . . Ill 
Reservoirs (des) .... 7 
Re tiro (cite" du) . . . II 

Re trait (du) 

Reuilly (boulevard de) . . 

— (porte de) 

— (de) 

— (station de) 

Reunion (passage de la) III 

— (rue & place de la) . . 

— (villa de la) 

Reuss (pass, de la) .... 
Re'volte (av. de la) .... 

— (route de la) 

Reynie (de la) .... Ill 

Rhin (du) 

Ribera 

Riblette 

Ricard (passage) 

Richard-Lenoir 

(boulevard) . . Ill, V 

— "Wagner 

— Wallace (boulevard) . . 
Richelieu (de). . . II, III 

— (square) II 



SQUARES, PUBLIC BUILDINGS, etc. 



23 



b. R. a. 



B.B.G. 



Ricbepanse // 

Richer /// 

Richerand (avenue) . . /// 

Richomme 

Rigny (de) II 

Rigoles (rue & cite des) . . 

Rimbaut (pass.) 

Riqnet 

Rivay 

Riverin (cit<5) /// 

Rivoli (de) . ... II, III 

— (place de) 77 

Robert-Estienne / 

Rocbebrune 

Rocbechoaart (de) 

— (boal. de) 

Rocher (du) 

Rocroy (de) 

Rodier 

Roger 

Roban (de) IV 

Roi-de-Sicile (du) . . . . V 

— Dore* (du) Ill 

Rollin. V 

— (college) 

Romainville (r. <fe porte de) 
Rome (de) TI 

— (cour de) IV 

Ronce (passage) 

Rondeaux (des) 

Rondelet 

Ronsard 

Ronsiu (impasse) . . , IV 

Roqu^pine // 

Roquette (de la) 

— (prison de la) 

Rosa-Bonheur . .... IV 

Roses (des) 

Rosiers (des) V 

Rossini //, III 

Rotbscbild (institut). . . . 

Rotrou V 

Rottembourg 

Roubaix (place de) .... 

Rouelle / 

Rougemont (rue & cite) /// 

Rouget-de-risle 77 

(issy) 

Roule (du) Ill 

— (avenue du) 

Roussel 

Rousselet IV 

Rouvet 

Rouvray (de) 

Roy // 

Royal (pont) 77 

Royale II 

Royer-Collard (r. <fe imp.) V 

Rubens 

Rudel (passage) ...... 

Ruisseau (du) 



17 



17 



22 



13 



13 



34 



23 



Rungis (pi. de) . . 

Ruty 

Ruysdael (avenue) 



Sables (des) 

Sabliere (de la) 

Sablonniere (de la) . . . . 
Sablons (des) / 

— (porte & boul. des) . . . 
Sablonville 

— (rue de) 

Sabot (du) IV 

Sabra (passage) 

Sacrd-Coeur (couv. du) IV 

((Sglise du) 

Sacrot 

Sadi-Carnot 

Saida (de lai 

St-Albin 

Sf-Amand 

St-Ambroise (c'gl., r. , & imp.) 

St-Anastase Ill 

St-Andre // 

— des-Arts (rue & place) V 

St-Ange (passage) 

St-Antoine V 

— (bopital) 

St-Augustin 77 

— C^gl.) 

St-Benoit IV 

St-Bernard (eglise) .... 

— (quai) 7 

— (rue & pass.) 

St-Blaise . " 

St-Bon 77/ 

St-Bruno 

St-Cbarles (rond-point & r.) I 
St-Claude (rue & imp.) 777 
St-Cloud (avenue de) . . . 

— (porte de) 

9t-Denis (canal) 

— (b., r., porte, & imp.) 77/ 

— (rue; Courbevoie) . . . 

— du-St-Sacrement (eglise) 

III 

— de-la- Cbapelle (c%lise) . 

St-Didier 7 

3t-Dominique .... 7, 77 
St-Eloy (cour & eglise) . . 
St-Esprit (se"m. du) . . . V 
St-Etienne-du-Mont (rue & 

eglise) V 

St-Eugene (eglise"). . . 777 
St-Eustacbe (eglise, place, <fe 

impasse ; Halles) . . 77/ 
St-Fargeau (rue <fe 'lac 1 ) . . 
St-Ferdinand (cbapelle, rue, 

<fe place) 

St-Fiacre (rue ife imp.). /// 
St-Florentin // 



21 



34 



15 



20 



15 



23 



<>:, 



21 



22 



24 



LIST OF THE PRINCIPAL STREETS, 





B. 


E 


G. 




B. 


R. 


G. 


St-Francois-de-Sales (egl.) . 


11 






St-Michel(bouL). . 7F, F 




19 


19 


— Xavier (pi. <fc <5gl.) . IV 
St-Georges (Eglise) .... 




1H 










'M 


30 






— (pont, place, & quai) F 




19 




— (rue & place). . . . II 
St-Germain Cboul.) II, 17, V 


'-M 






— (villa) 




1 1 






17 




— des-Batignolles (eglise) . 


17 






— (ile) 






a 


St-Nicolas (.port) . . II 




20 




- (marche") IV 




19 




— des-Champs (Eglise) . . 




24 




— de-Charonne (eglise) . . 




3b 




— du-Chardonnet (eglise) . 




22 




— des-Pre's (eglise & pl.> IV 




19 




St-Ouen (av. <fe porte de) 


16 






— TAuxerrois (egl. <ftr.) Ill 




2U 




St-Paul (rue & pass.) . . F 




25 




St-Gervais (eglise & place) V 




23 




— Saint-Louis (eglise) . F 




25 




St-Gilles Ill 




26 




St-Pe"tersbourg (de) .... 


17 






St-Gothard (du) 






20 


St-Philibert (avenue) . . . 




5 




St-Guillaume IV 




17 




St-Philippe 777 




24 










on 


— du-Roule (Eglise). . 77 


in 






St-Honore I 




9 




(rue) 77 


15 






— (cloitre) . ... II, III 




20 




St-Pierre (impasse) .... 






it) 


— (rue) II 




18 




— (rue & eglise; Neuilly) . 


5 






— (marche) 77 








— de-Chaillot (egl.) ... 7 




12 




St-Hyacinthe II 




18 




— de - Montmartre (place, 








Sl-Jacoues V 




19 


19 


square & eglise) 


20 






— (boulevard & place) . . 






20 


— de-Montrouge (Eglise) . 






17 


— (square & tour) . . Ill 




23 




— du-Gros-Caillou (egl.) 7 




11 




— du-Haut-Pas (e"gl.) . . V 






19 


— du-Temple (pass.) . 777 




26 




St-James (rue & porte) . . 


3 






— St-Antoine (passage) . F 




25 




St-Jean-Baptiste-de-Belle- 








St-Placide 7F 




16 




ville (eglise) 


33 






St-Quentin 


24 






de-Grenelle (eglise) . 






7 


St-Roch (Eglise & rue) . 77 




18 




— de-Dieu (Freres) . . IV 




13 




St-Romain 7F 




IB 




— St-Francois (eglise) . 77/ 




23 




St-Sabin 777, F 




26 




St-Joseph Ill 




21 




St-Sauveur 777 




21 




— (dgl.) 




27 




St-Se'bastien (rue, passage 
& imp.) 777 




26 




— des Allemands 


27 




— (Engl. R. C. church) . . 


12 






St-Severin (rue <fe e"glise) F 




19 




■ — (hopital) '. . 






14 


St-Simon 7F 

St-Sulpice(r., pi., & ^gl.) IV 




17 

19 




St-Julien-le-Pauvre . . . V 




22 




St-Lambert 






7 
10 


— (se"minaire de) 

— (seminaire de; Issy) . . 




16 




— de-Vaugirard 






6 


St-Laure'nt (eglise) .... 


24 






St-Thomas-d'Aquin (Eglise, 








St-Lazare (prison) .... 


24 






rue, & place) .... IV 






17 


— (rue & gare) .... II 


IS 






St-Victor F 




22 




St-Leu (Eglise) .... Ill 




23 




St- Vincent (Montmartre) . 


20 






St-Louis (hopital) . . /// 


27 






— de-Paul (eglise & rue) . 


24 






— (ile & pont) V 




22 




— de-Paul (soeurs de) . 7F 




16 




— (lycee) V 




19 




St- Yves 






18 


— aux-Invalides (e"glise) IV 




14 




Ste-Anne (eglise) 






24 


— dentin (Eglise) . . // 


18 






— (rue & pass.) ... 77 




21 




— en-l'Ile (rue & eglise) V 




22 




— Popincourt (pass.) . . . • 




27 




St-Mande' (av., porte, & r. de) 






34 


Ste-Apolline 777 




24 




St-Marc 77, TXT 




21 




Ste-Avoye (pass. & imp.) 777 




23 




St-Marcel (boul. & <*gl.) . . 






22 


Ste-Barbe (college) . . . F 




19 




St-Martin Ill 




23 




Ste-Beuve 7F 






16 


— (boul. & porte) . . . 777 




24 




Ste-C^cile 777 


24 






— (canal) 


27 


27 




Ste-Chapelle (pal.de just.) F 




20 




— (cour) Ill 


24 






Ste-Clotilde (eglise) . . 7F 




14 




— (marche - ) 77/ 




24 




Ste-Croix-de-la-Bretonnerie 








St-Mathieu 


23 






(rue & pass.). . . 777, F 




23 




S t-Maur Ill 


27 


29 




— (institution) 


8 






St-Maurice (boulevard). . . 






36 


Ste-Elisabeth (r. <fe 6g\.) 777 




27 




St-MeMard (rue & eglise) V 






22 


Ste-Euphrasie 


19 






St-Merry (rue & tfgl.) V, III 




23 




Ste-Felicite" (impasse) . . . 






10 



SQUARES, PUBLIC BUILDINGS, etc. 



25 



B. E. G. 



B.R. G. 



Ste-Foy (rue & pass.) . Ill 




24 




— (avenue ; Neuilly) . . . 


•2 






Ste-Genevieve (place) . . V 




22 




Ste-Isaure 


L9 






Ste-Marguerite (e"glise) . . 




28 




Ste-Marie 


20 






— (cour & passage) .... 


27 












-io 


— (Courbevoie) 


1 






— des-Batignolles (e'glise) . 


14 






Ste-Marthe Ill 


27 






Ste-Opportune (r. <fcpl.) Ill 




20 




Ste-Pelagie (prison) . . . V 






22 


Ste-Pe'rine (institution de) . 




4 




Saintonge (de) .... Ill 




26 




Saints-Peres (des) . . . IV 




17 




— (pont des) . . . .11, IV 




20 




Salneuve 


14 






Salomon-de-Caus . . . /// 




24 




Salpetriere (de la) .... 






26 


— (hospice de la) 






25 


Sambre-et-Meuse (de) . . . 


21 












?3 


Sandrie (impasse) ... 77 




18 




8ante" (impasse de la) . . . 






19 


— (rue <fc prison de la) . . 






20 








: J .i 








00 








18 


Sauffroy 


16 






Sanies (des) 


'20 






Saulnier (passage) . . Ill 


21 






Saussaies (des) .... II 




1.5 




Saussaye (boulevard de la) 


4 






Saussier-Leroy 


12 






Saussure 


14 












W 


Sauval Ill 




20 




Savoie (de) V 




20 




Saxe (avenue de) . . . IV 




13 




Scala (la) Ill 




24 




Sceaux (anc. gare de). . . 






20 


— Ceinture (station de). . 






21 


Scheffer I 




K 










17 


Schomberg V 




25 










16 


Scipion (rae & place) . . . 






22 


Scottish Church // 




15 




Scribe II 




18 




Sevastopol (boal. de) .III 




24 




Secre'tan 


30 






Sedaine V 




29 




SeMillot I 




11 
19 




Seguier V 




S6gur (avenue de) . . IV 




13 




Seine (de) IV 




20 




— (quai de la) 


29 






— (boulevard & quai de la ; 








Courbevoie) 


1 






Senat (palais du) . . . IV 


. 


19 





Se'ne'gal (du) 

Sentier (dn) Ill 

— des Bossettes 

Sept Arpents (des) 

Sergent-Bauchat (da) . . . 

Serpente V 

Serurier (boulevard) . . . 

Servan 

Servandoni IV 

Service Geographique de 

l'Arme'e IV 

Seveste 

Sevigne* V 

Sevres (de) IV 

— (porte de) 

Seze (de) II 

Sfax (de) I 

Siam (de) 

Sibuet (pass.) 

Simart 

3imon-le-Franc .... Ill 

Simonet (passage) 

Simplon (du) 

Singer 

Smala (de la) 

Soeur-Rosalie (avenue) . . 
Solferino (rue & poat de) II 

— (Vanves) 

Solidarity (de la) 

Solitaires (des) 

Sommerard (du) . . . . V 

Sontay (de) I 

Sorbier . 

Sorbonne V 

— (pi., r., & pass, de la) V 

Soufflot V 

Soult (boulevard) 

Source (de la) 

Sourdiere (de la) . . . II 

Sourdis Ill 

Sourds-Muets(instit.des). V 

Soyer 

Spontini 

Stael (de) IV 

Stanislas (rue & passage) IV 

— (college) IV 

Steinkerque (de) 

Stemler (pass.) 

Stendhal 

Stephenson ... 

Stinville (passage) 

Strasbourg (rue & gare de) 

— (boulevard de). . . Ill 
Suchet (boulevard) .... 

Sud (passage du) 

Suffren (avenue de) . . . I 

Suger V 

Suisses (passage des) . . . 
Sully (de) V 

— (pont) V 

Surcouf II 



20 



30 
21 



30 



31 



23 



23 



23 



17 



32 



34 



19 






29 



31 



26 



LIST OF THE PRINCIPAL STREETS, 





B. 


R 


G. 






B. 


R. 


G. 


Surene (de) // 




18 
38 
1 

14 


13 

7 

24 

31 
13 

20 

1 

32 

27 

13 


Theatre du Chatelet 

— du Grymnase .... 

— du Palais-Royal . . 

— du Vaudeville . . 

— Francais 

— — (place du) . . . 

— Sarah-Bernhardt . 

— Trianon 

Theaard 


. V 
777 

. 7 
77 
77 

.77 

. V 

'. V 


• 

20 
12 


20 
24 
21 

i/ 
2 J 
21 
23 

19 

4 

21 

6 




Sycomores (avenue des) . . 

Tabacs (anc. manuf. des) 27 
Tabna (cite") 






Taebe 








Taeherie (de la) . . . . V 
Tage (du) 




23 




Thdodule-Ribot 








29 
31 

23 


The"ophile-Gautier .... 




Taillebourg (avenue de) . . 
Taillepain Ill 






Therese 

Thermopyles (passage 
Theory 


II 

des) 




17 


Taitbout . . . . II 


21 


21 
5 




Talma 


Thibaud ...... 




17 






Thiboumery .... 
Thierre (passage) . . 
Thionville (de) . . . 

Tholoze 

Thorel 

Thorigny (de) 

Thouin 


77/ 
///. 
. V 


29 
20 


25 

24 
26 


11 


Tandou 

Tanger (de) 

Tanneries (des) ...... 

Tarbe . 


29 
26 

14 
20 

15 

33 

1*8 


24 

33 
23 
27 
27 
24 

15 

15 




Tardieu 

Taylor ..... . . . Ill 

Teheran (de) II 


00 


Tiers 


f >3 


Telegraphe (da) 

Temple (du) Ill 

— (boul. du) Ill 

— (ancien naarche du) /// 

— (square du) .... Ill 

— Allemand. ....... 

— Anglican II 


Tilleuls (avenue des) . .' . 
Tilsitt (de) 


12 


1 

21 
10 

24 
23 




Timbre (hotel du) 77, 


III 




Tiquetonne 

Tiron 

Titien 


III 

. V 




93 




Titon 




28 
30 






Tivoli (passage de) .... 


18 








36 

27 

32 

27 








Tocqueville (de) ..... 

Tolbiac (de) 

— (pont de) 


14 




Ternes (pi. des) 

— (av. & porte des). . . . 


12 

9 

27 
14 

20 


24 
99 


Terrage (du) ....... 

Terrasse (de la) 

— (de la ^ Charenton) . . . 
Terre-Neuve (de) 


Tombe-Issoire (de la) . . . 
Torcy (rue & place) . . . 


25 
9 


19 

6 

22 

■:■ 

19 
30 
13 

24 

33 
17 


LS 


Toul (de) 


81 


Terres-au-Cure" (imp. des) . 
Tertre (place du) 


Toullier 

Tour (de la; Passy) . . 

— (de la; Malakoff). . 

— des-Dames (de la) . 
Tourelles (des) .... 

— (des ; Montrouge) . . 

Tourlaque 

Tournefort 


. V 
. 7 

; ; 

.' V 

ela) 

V 

T, V 

IV 


18 
36 

17 

10 
9 


•r> 


Texel (du) 






Tbann (de) 

Theatre (du) 


14 


7 

24 
,'. 
24 
18 
24 
24 
24 
27 
19 
18 
21 
21 
21 
21 


n 


— Antoine Ill 

— Dejazet .Ill 




90 


— de l'Ambigu .... Ill 

— de PAthenee II 

— de la Gaite .... Ill 

— de la Porte-St-Martin 77/ 


Tournelle (quai <fepont d 

Tournelles (des). . 77 

Tournon (de) 

Tourtille (de) 




— de la Republique. . 777 

— de rOdeon V 

— de rOpera 77 

— de rOpera-Comique . 77 

— des Bouffes-Parisiens 77 

— des Nouveaute"s . , . 77 

— des Varie'te's .... 777 


Tourville (avenue de) I, IV 

Toussaint-Feron 

Touzelin (passage) .... 

Tracy (de) 777 1 

Traktir (de) 7 

Transvaal (du) | 

Travaux Publ. (min. des)7F 


24 



SQUARES, PUBLIC BUILDINGS, etc. 



27 



B. R. <J. 



B. R. G. 



Traversiere V 

Trebert (impasse) 

Treilhard 

Tremoille (de La) .... / 
Trevise (rue & cite de) 777 
Trezel 

— (Levallois-Perret) .... 
Tribunal de Commerce . V 
Trinite - (passage de la) 777 

— (rue <fc eglise de la) . . 
Trocadero (av. du) ... 7 

— (stat. de Fav. du) „ . . 

— (palais <fc place du) . 7 
Trois-Bornes (des) 

— Couronnes 

— Freres (des) 

— Portes (des) V 

Tronchet 77 

Trone (avenue du) .... 
Tronson-Ducoudray . . .II 
Trousseau (square <fc rue) . 

— (hSpital) 

Troyon 

Trudaine (avenue) .... 

Truffaut 

Tuileries(jard., palais, quai, 

& rue des) 7/ 

Turbigo (de) 777 

Turenne 777, V 

Turgie . . 

Turgot (rue & place) . . . 
Turin (de) 



Ulm (d 1 ) V 

Union (passage de F) . .7 
Universite (de F) J, 77, IV 

Ursins (des) V 

Ursulines (des) V 

Usines (des) 7 

Uzes (d 1 ) /// 



Vacquerie (la) 

Valadon 7 

Val-de-Grace (hop. & r. du) 

Valence (de) 

Valenciennes (de) 

Valentin 

— Haiiy IV 

Valette V 

Valhubert (place). . . . V 

Vallee (de la) 

Vallier 

Valmy (quai de) . . . 77/ 

— (rue de) 

— (pass.) 

Valois (rue & place de) 77 

Vandal 

Vandamme 

Van-Dyck (avenue) . . . . 



112 



34 



36 



IV 



Vaneau (rue & cite) 
Vanves (& rue de) 

— (rue & pass, de) .... 

— (porte de) 

— a-Montrouge (de) .... 
Varenne (rue & cite de) 7 V 
Varie'tes (theatre des) . Ill 

Varize (de) 

Vauban (placej .... IV 

Vaucanson Ill 

Vaucouleurs (passage) . . 
Vaudeville (theatre da) .II 

Vaugelas 

Vaugirard (de) . . . IV, V 

— (boul. de) IV 

— (place de) 

— (station de) 

Vauquelin 

Vauvenargues 

Vauvilliers ...... 777 

Vavin IV 

Vega (de la) 

Velasquez (avenue) .... 

Velpeau IV 

Vendome (passage) . . 777 

— (place) 77 

Vendrezanne 

Venise (de) 777 

Ventadour ...... 77 

Ventes (hot. des) . . . 777 

Vercingetorix 

Vergniaud 

— (Levallois-Perret) .... 
Vernet ......... 7 

Verneuil (de) IV 

Vernier 

Vero-Dodat (passage)77, 777 

Ve'ron 

Verrerie (de la) . 777, V 
Versailles (avenue de). . . 

— (porte de) 

Versigny 

Vertbois (du) 777 

Verte (allee) 777 

Vertus (des) 777 

Verzy (av. de) 

V^zelay 

Viala 

Viarmea (de) 777 

Vicq-d'Azir 

Victoire (de la) ... . 77 
Victoires (place des) . 777 
Victor (boulevard) .... 

— Cousin V 

— Hugo (av.) 7 

— ■ — (avenue-, Vanves) . . 

(maison de) . . . . V 

(placej 

(lyeee $r. de Sevigne) V 

(boul. 5 Clichy) . . . 

i (boul. 5 Neuilly) . . . 



16 



20 



':S 



21 



20 



20 



19 



28 



LIST OF THE PRINCIPAL STREETS, etc. 



B. R. G. 



B. R. G. 



"Victor Hugo (rue & place-, 

( ourbevoie) 

(Ivry) 

(Les Carrieres) . . . 

(Levallois-Perret) . . 

(Malakoff) 

(Pantin) 

— Masse" 

Victoria (av.) . . . Ill, V 
Vieille-du-Temple ///. V 
Vieilles-Tuileries(cour des)iF 

Vienne (de) 

Vierge (pass, de la) . . . I 

Viete 

Vieux-Chemin-d' , Ivry (du) . 
Vieux-Colombier (du) . IV 
Vigan (passage du) . . /// 

Vignes (des) 

Vignolles (des) 

Vignon II 

— (passage) 

Vilin 

Villa Gabriel IV 

— Longchamp / 

— Said 

Villars (avenue de) . . IV 

Villedo // 

Villegranges (des) 

Ville-Hardouin . ... Ill 

Villejuif (de) 

Villejust (de) I 

Ville-FEveque (rue & place 

de la) 77 

Ville-Neuve (de la) . . Ill 
Villersexel (ie) .... IV 
Villette (de la) 

— (dela-, LePre-St-Gervais) 

— (bassin de la) 

— (boul. de la) 

— (porte de la) 

Villiers (av. de) 

— (porte & rue de) .... 

Villiot 

Vinaigriers (des) . . . /// 

— (cour des) Ill 

Vincennes (bois de) .... 

— (cours & porte de) . . . 

— (gare de; Bastille) . . V 

Vincent . . 

Vineuse / 



10 



30 



12 



27 



35 



Vingt-Neuf-Juillet (du) II 

Vintimille 

Violet (passage) . . . Ill 

— (rue & place-, Grenelle). 

Visconti IV 

Vistule (de la) ..... . 

Vital 

Vitruve '. 

Vitry (porte de) 

Vivienne (r. & pass.) II, III 

Voie-Industrielle 

Voie-Verte (de la) .... 

Volney II 

Volontaires (des) 

Volta Ill 

Voltaire (boul. & place) III 

— (lyce'e) 

— (quai) IV 

— (Levallois-Perret) .... 

— (Montrouge) 

Vosges (place des). . . . V 

Vouille" (de) 

Voute (de la) 

— du- Cours (de la) ... . 
Vrilliere (de La) . II, III 

Wagram (av. de) 12 

— (pl. de) U 

Washington .- / '12 

— et Lafayette (monument 
de) I 

Watt 

Watteau 

Wattiaux (passage) .... 

Wattignies (de) 

Weber 

Wilhem 

Wurtz 



18 



20 



21 



18 



26 



Xaintrailles 



Ybry 

Yvette (de 1') . . . 
Yvon de-Villarceau 



Zacharie V 

Zone (de la) 

— (de la; Montrouge) . . . 



2 



ID 



29 



List of the Stations of the 'Metropolitan^ . 

Comp. p. 30 of the Handbook and the annexed Plans. Lost Property Office, 
see Appx., p. 34. 

Stations and points of interest near them (the distances are given 
in parenthesis). — Uniform fares : 25 c. and 15 c. 

1. From the Porte de Vincennes to the Porte Maillot (ca. V? hr.). 

Porte de Vincennes (PL R, 34 ; p. 253). Vincennes and Bois de Vin- 
cennes (pp. 255, 256; IV4M.). — The line passes through a tunnel 
following the Cours de Vincennes (p. 253) to the W. and then the 
Av. du Trone. 

Place de la Nation, the terminus of line 2N (see Appx., p. 31). — 
Then by a tunnel under the Boul. Diderot. 

Hue de Reuilly (PI. R, 28; see p. 252). 

Gare de Lyon (PL R, G, 25; see p. 182). — Thence under the Kue 
de Lyon. 

Place de la Bastille (PI. R, 25, V; p. 181), where the line crosses 
the Canal St. Martin in the open air. Gare de Vincennes (p. 255), 
Pont Sully (p. 182; 1/3M.), Halle aux Vins (p. 327; 1/2 M.). - We 
pass above line 5 (see Appx., p. 33) and prtceed under the Rue 
St. Antoine. 

St. Paul (PI. R. 26 25). Church of St. Paul dc St. Louis (p. 179), Mus&e 
Camavalet (p. 187; 330 yds.), Place des Vosges and Victor Hugo's 
House (pp. 191, 192; 1/4 M.) ; lie St. Louis (p. 268; Vs M.). — We now 
follow the Rue de Rivoli (tunnel). 

Hotel de Ville (PL R, 23, F; p. 178). St. Gervais (p. 178; VsM.), Archives 
and Imprimerie Rationales (pp. 183 & 186; V3 M.); Notre-Dame (p. 265; 
1/3 M.), Sorbonne (p. 280; s/ 4 M.), PantMon (p. 283; Vs M.). 

Chatelet (PL R, 20, III; p. 173), station in the Rue des Lavandieres- 
Ste-Opportune. Chatelet and Sarah Bernhardt Theatres (pp. 40, 39; 
165 yds., Vs M.), Tour St. Jacques (p. 173; Vs M.), St. Merry (p. 173; 
V4M.), Fontaine des Innocents (p. 194; VsM.); Pont-Neuf (p. 259; 
V4M.), Palais de Justice (p. 261; 1/2 M.), Place St. Michel (p. 269; 
1/2 M.), Mus&e de Cluny (p. 272; */s M.). 

Louvre (PL R, 20; 777), at the Rue du Louvre (p. 90). Musies du 
Louvre (p. 94; 330 yds.), St. Germain -V Aux err ois (p. 91; 165 yds), 
Bourse de Commerce (p. 193; Vs M.), Holies Centrales (p. 194; 330 yds.), 
St. Eustache (p. 195; 1/3 M.), Hdlel des Postes (p. 193; Vs M.); Pont des 

■ Arts (-p. 288; V4M.), Ecole des Beaux-Arts (p. 291; 73 M), Institut 
(p. 289; V3M.),- H °tel des Monnaies (p. 291; V3 M.), St. Germain-des- 
Pris (p. 295; 2 / 3 I.). 

Palais-Royal (PL R, 20, 21, II; p. 90). TUdtre Francois (p. 88 ; 110 yds.), 
Avenue de r Optra (p. 88; Vs M.), Bibliotheque Rationale (p. 201 ; V3 M.), 
Banque de France (p. 89; V2 M -), Place des Victoires (p. 207; 1 /zM.); 
Place and Pont du Carrousel (pp.70, 298; 110 yds., V* M.). 

Tuileries (P1.R,18, II; p. 67), opposite the Rue du Vingt-Neiif-Juillet. 
Jardin des Tuileries (p. 67), Place de Rivoli (p. 87; 165 yds.), Place 
Venddme (p. 86; l /i M.) ; Pont-Royal (p. 298; V* M -), Gare du Quai- 
d'Orsay (p. 298; V2H.), Palais de la Legion d'Honneur (p. 298; V2 M.), 
Pont de Solferino (p. 298 ; Vs M.). 

Place de la Concorde (PL R, 15, 18, II; p. 67), at the W. end of the 
Rue de Rivoli. Jardin des Tuileries (p. 67; i/s M.), Champs- Ely sies 
(p. 71 ; 330 yds.); Madeleine (p. 77; 1/4 M.); Pont de la Concorde (p. 67; 
1/4 M.), Chambre des Diputis (p. 299; y 2 M.). 



30 STATIONS OF THE METROPOLITAIN. 



Stations and points of interest near them (the distances are given 
in parenthesis). — Uniform fares : 25 c. and 15 c. 



Champs-Elysees (PI. R, 15, 77; p. 75), at the entrance of the Av. 

Alexandre III. Grand and Petit Palais (pp. 74, 71 ; 55 yds., 165 yds.), 

Palais de VElysie (p. 71; V* M -X Thidtre Marigny (p. "41; 165 yds.); 

Esplanade and Oare des Invalides (p. 302; V2 M.), Hdtel des Invalides 

(p. 303; s/ 4 M.). 
Rue Marbeuf (PI. R, 12, 7; p. 75). St. PHlippe-du- Route (p. 75; 73M.); 

Maison de Francois l er (p. 225; V2 M«)? Notre-Darne-de-Consolation 

(p. 225; V2M.). — Still under the Av. des Champs-Elysees. 
Avenue de FAlma (PI. R, 12, 7; p. 75). Pont de VAlma (p. 22i; 

1/2 M.). — The line here attains a depth of 90 ft. 
Place de PEtoile (PI. R, 12, 7; p. 75). Arc de Trioniphe (p. 75), Avenues 

mentioned at p. 76. — Junction for Lines 2N & 2S, see below & 

Appx., p. 31. 
Rue d'Obligado (PI. B, 9), below the Avenue de la Grande-Armee 

(P. 76). 
Porte Maillot (PI. B, 9; p. 223), at the beginning of Neuilly and 

near the Bois de Boulogne (p. 236). Chapelle St. Ferdinand (p. 224; 

275 yds.), Jardin a" Acclimatation (p. 238; ^M.). 



2N. Northern Circle from the Porte Dauphine to the Place 
de la Nation (ca. 33 min.). 

Porte Dauphine (PL R, 6), at the entrance to the Bois de Boulogne 
(p. 236). ■ — The line passes under the Av. Bugeaud. 

Place Victor -Hugo (PI. R, 9; p. 77). — Fnder the Av. Victor-Hugo 
(p. 76). 

Place de PEtoile (for Lines 1 & 2S, see above & Appx., p. 31). — Under 
the Avenue de Wagram. 

Place des Ternes (PI. B, 12). Russian Church (p. 222; 330 yds.). 

Rue de Courcelles (PI. B, 12), under the Boul. de Courcelles (p. 220). 

Pare Monceau (PI. B, 15; p. 222). Musie Cernuschi (p. 221; 1/4 M.), 
Place de Wagram (p. 223 ; 2/3 M.). 

Avenue de Villiers (PI. B, 14, 15; p. 2':0). Place and Boulevard 
Malesherbes (pp. 223, 221; 1/3 M.). —Junction for line 3 (see Appx., 
p. 32). — Then below the Boul. des Batignolles (p. 220). 

Rue de Rome (PL B, 17; p. 220). 

Place de Clichy (PI. B, 17; p. 220). Eglise de la 7Wm^(p.212; VzM-)- — 
Then below the Boul. de Clichy (p. 215). 

Place Blanche (PL B, 17; p. 216). Moulin Rouge (p. 216), Cimetiere 
Montmartre (p. 216; 1/4 S1 0- 

Place Pigalle (PL B, 20). Musie Gustave-Moreau (p. 211; V» M.), Notre- 
Dame-de-Lorette (p. 211; V2 M.). — Farther on under the Boul. de 
Roche chouart. 

Place d'Anvers (PL B, 20; p. 213). Cable - tramway from the Place 
St. Pierre to the SacH- Coeur on Montmartre (p. 214; l /% M.). — 
Beyond the Rue de Clignancourt the line is carried on viaducts 
above the Boulevards de Rochechouart, de la Chapelle, and de la 
Villette. A picturesque view is obtained from this part of the line 
at night, with the lights of the town and of the Chemins de Fer 
du Nord and de PEst. 

Boulevard Barbes (PI. B, 23). Gare du Nord (p. 209; % M.), St. Vin- 
cent-de-Paul (p. 210; V3 M.). — View on the right of the broad 
Boulevard de Magenta (p. 209). The Chemin de Fer du Nord is crossed. 



STATIONS OF THE METROPOLITAN. 31 



Stations and points of interest near them (the distances are given 
in parenthesis). — Uniform fares : 25 c. and 15 c. 



Place de la Chapelle (PL B, 23). Gare du Ford (p. 209; 1/2 M.), Gare 
de fEst (p. 209; 2 / 3 M.), St. Laurent (p. 209; s/ 4 M.). — The Chemin 
de Fer de l'Est is crossed. 

Rue d'Aubervilliers (PL B, 26). Abattoirs of La Villette (p. 241; P/ 4 M.). 
— View of the Butte Montmartre surmounted hy the basilica of 
the Sacre-Coeur (p. 214). On the left the Bassin de la Villette 
(p. 241) ; on the right the Canal St. Martin (p. 241). 

Rue d'Allemagne (PL B, 26; p. 240). Bassin de la Villette (p. 241; 
165 vds.), Buttes-Chaumont (p. 240; V2 M.)- 

Rue du Combat (PL B, 27; p. 240). Buttes-Chaumont (p. 240; V2M.). — 
The high-level portion of the line ends here and we proceed under 
the Boul. de la Villette. 

Rue de Belleville (PL B, R, 30). — Then below the Boul. de Belleville. 

Rue des Couronnes (PL R, 30; p. 251). 

Rue de Menilmontant (PL R, 30). Notre- Dame- de-la- Croix (p. 251; 
V4 M.), Riservoirs de la Dhuis (p. 251 ; 1 M.). — Under the Boul. de 
Menilmontant (p. 242). 

Pere-Lachaise (PL R, 29 ; p. 242), at the N. E. entrance to the Cem- 
etery (p. 242; the next station is nearer). — We cross Line 3 (see 
Appx., p. 33). — Still under the Boul. de Menilmontant (p. 242,). 

Avenue Philippe-Auguste (PL R, 32; p. 242). Principal entrance to 
the cemetery of Pere-Lachaise (p. 242; Vs M.), Rue de la Roquette 
(p. 251), Place Voltaire (p. 251; 1/2 M.). — Then under the Boul. de 
Charonne. 

Rue de Bagnolet (PL R, 32). 

Rue d'Avron (PL R, 31). Porte de Monlreuil (PL R, 34; 2 / 3 M.). — Still 
under the Boul. de Charonne. 

Place de la Nation (PL R, 31; p. 252), the junction for Line 1 (see 
Appx., p. 29). The exit side of this station is at the end of the Av. 
de Bel- Air ; the entrance is at the end of the Rue Fabre-d'Eglantine. 



2S. Southern Circle from the Place de 1'Etoile to the Place d'ltalie 

(ca. 27 min.). 
Place de 1'Etoile (for Lines 1 and 21ST), see Appx., p. 39. — The line 

passes under the Av. Kleber (p. 76). 
Avenue Kleber (PL R, 12; I), at the end of the Rue Pauquet. 
Rue Boissiere (PL R, 9, I; p. 230). Musses Guimet and Galliira 

(pp. 227, 226; 330 yds., i/s M.). 
Trocadero (PL R, 9, 8, /; p. 239). Pont aVIina (p. 233; Vs H.). — 

Under Rue Franklin and Rue Alboni. 
Quai de Passy (PL R, 8, 2"; p. 233), station in the Square Alboni. — 

The line emerges here, crosses the tine Viaduct of Passy (p. 234; 

view), and proceeds on viaducts. 
ftuai de Grenelle (PL B, 8, /; see p. 314). Stat'on du Champ-de-Mars 

(p. 314; 1/4M.), Champ-de-Mars (p. 312; i^M.), Eifel Tower (p. 313; 

V3M.); Pont de Grenelle (p. 233; y 2 M.) — The line follows the 

Boul. de Grenelle (p. 312). 
Rue Dupleix (PL R, 7, 10). 

Avenue de La Motte-Picquet (PL R, 10). Ecole Miliiaire and Champ- 
de-Mars (p. 312; i/jl.). — View on the left of the dome of the 

Hotel des Invalides. 
Place Cambronne (PL R, 10). Ecole Miliiaire (p. 312; 330 yds.), Hotel 

des Invalides (p. 303; 2 / 3 M.). — The line follows the Boul. Garibaldi. 
Avenue de Suffren (PL R, 13, IV; p. 311). Hotel des Invalides (p. 303; 

3 /4 M.). — The high-level portion of the line ends a little before 

the next station. 



32 STATIONS OF THE METROPOLITAN. 



Stations and points of interest near them (the distances are given 
in parenthesis). — Uniform fares : 25 c. and 15 c. 



Boulevard Pasteur (PI. G, 13). Institut Pasteur (p. 335 ; 330 yds.). — 

Then under the Boul. Pasteur and the Boul. de Vaugirard. 
Gare Montparnasse (PI. G, 16; p. 335), station in the PJace du Maine. 

— Under the Boul. Edgar-Quinet. 
Boulevard Edgar-Quinet (PL G, 16; see p. 335). Cimeliere Montparnasse 

(p. 335), Jar din du Luxembourg (p. 323 ; V2 M.). 
Boulevard Raspail (PL G, 16 ; see p. 335). Cimetiere Montparnasse 

(p. 335), Jar din du Luxembourg (p. 323; V2 M.). — Under the Boul. 

B,as pail. 
Place Denfert-Rochereau (PL G, 17; p. 337). Station de Paris-Denfert 

(p. 337; Vs M.), Observatoire (p. 331; l jz M.), Pare de Montsouris 

(p. 338; 3 A M.). — Under the Boul. St. Jacques. 
Place St. Jacques (PL G, 20). Observatoire (p. 334; i/s M.), Val-de- 

Ordce (p. 331; 2/3!.), Pare de Montsouris (p. 338; 3 A M.). — The 

line re-emerges at this station and is carried on viaducts above 

the Boul. St. Jacques, and Boul. Auguste-Blanqui. 
Rue de la Glaciere (PL G, 20). — Still on viaducts above the Boul. 

Auguste-Blanqui. View to the left of the Pantheon and the dome 

of the Val-de- Grace. 
Rue Corvisart (PL G, 23). — A little beyond the station the line is 

again carried through tunnels, under the Boul. Auguste-Blanqui. 
Place d'ltalie (PL G, 23; p. 334). Manufacture des Gobelins (p. 332; 

1/4 M.). — Junction for Lines 2S, 5, & 6 (not yet completed; see 

Appx., pp. 33, 3i)- The station is at the beginning of the Buul. 

de la Gare. 

3. From the Avenue de Villiers (Boul. de Courcelles) to the Place 

Gambetta (ca. 22min.). 
Avenue de Villiers (Line 2N), see Appx., p. 32. — The line runs 

under the Rue de Constantinople and the Rue de Rome. 
PJace de l'Europe (PL B, 18; p. 213), station in the Rue de Rome at 

the end of the Rue de Madrid. Church of St. Augustin (p. 221; 

1/4 M.), Triniti (p. 2L2; i/ 2 M.). — Under the Rue de Rome. 
Gare St. Lazare (PL B, 18, II; see p. 213), station opposite the Hot. 

Terminus. Triniti (p. 212; 1/3 M.). 
Rue Caumartin (PI. B, 18; II), station in the Boul. llaussmanu 

(p. 220). Magasins du Printemps (p. 48), Madeleine (p. 77; 74 M.).— 

Under the Rue Auber. 
Opera (PL R, 18, 77; p. 79), station in the Place de l'Opero. Boulevards 

des Gapucines and des Italiens (pp. 79, 81), Vaudeville (p. 81; 

110 yds.). Thidtre des Nouveautis (p. 81; l j% M.), Ope'ra-Comique 

(p. 82; '/i M -); Place Venddme (p. 86; 1 / i M.), Madeleine (p. 77; 

Y3 M.). — Under the Rue du Quatre-Septembre (p. 79). 
Rue du Quatre-Septembre (PL R, 21; II). Gr&dit Lyonnnis (p. 81), 

Ope'ra-Comique (p. 82; 330 vds.); Bibliotheque Na'ionale (p. 201; '/iM.j. 
Bourse (PL R, 21, III ; p. 208). Bibliotheque Nationale (p. 201 ; 330 yds.), 

Ifolre-Dame-des-Victoires (p. 207; 74 M.), The' dire des Var ale's (p. 82; 

V* M.), Banque de France (p. 89; 7* M -)- — Then under the Rue 

Reaumur (p. 208). 
Rue du Sentier (PL R, 21 ; ///). Boulevard Poissonniere (p. 83; V4 M.), 

Place des Victoires (p. 207; V* M.), Hotel des PoHes (p. 193; 74 M.). 
Rue St. Denis (PL R, 24; III), in the Rue de Palestro. Th&dtre de 

la Gaiti (p. 197; i/s M.), Porte St. Denis (p. 83; >/« M.), Halles Cen- 
trales and St. Pus/ache (pp. 19L 195 ; 73 M.). 
Arts-et-Metiers (PL R, 24, lilt, see p. 196). Conservatoire des Arts et 

Mitiei's (p. 197), St. Nicolas des Champs (p. 196), Porte St. Martin 

(p. 84; l /-i 31.), Archives and Imprimerie Rationales (pp. 183, 186; 

765 yd-.) — Under the Rue de Turbigo. 



STATIONS OF THE M^TROPOLITAIN. 33 



Stations and points of interest near them (the distances are given 
in parenthesis). — Uniform fares: 25c. and 15c. 



Rue du Temple (PI. R, 27, III; p. 200). Square du Temple (p. 200 ; 7 8 M.). 
Place de la Republique (PI. R, 27, III; p. 85), station beside the 

statue. — We pass under Line 5 (see below). — Then under the 

Av. de la Republique (p. 242). 
Avenue Parmentier (PI. R, 30). 
Rue St. Maur (PI. R 30). 
Pere-Lachaise (Line 2N), see Appx., p. 31. — Under the Av. Gambetta 

(p. 250). 
Place Martin -Nadaud (PI. R, 33: see p. 250). N. entrance of the 

Cemetery of Pere-Lachaise (p. 246-, 165 yds.). 
Place Gambetta (PI. R, 33; p. 250). The exit side of this station is 

at the corner of the Rue Belgrand; the entrance is at the corner 

of the Rue des Pyrenees. 



5. From the Place d'ltalie to the Gare du Nord (open as far as the 

Rue de Lancry in Jane 1807; ca. V4hr.). 
Place d'ltalie (PI. G, 23; Line 2S), see Appx., p. 32. — Under the 

Boul. de LHopital (p. 329). 
Rue de Campo-Formio (PI. G, 23). Manufacture des Gobelins (p. 332; 

Vs M.). 
Boulevard St. Marcel (PI. G, 22). Hospice de la Salpetriere (p. 329). — 

The high-level portion begins here. View to the right of the dome 

of the Salpetriere. 
Gare d'Orleans (du Quai - <f Austerlitz ; PI. G, 25, 7; p. 327). Pont 

d'Austerlilz (p. 327; i/s M.), Jardin des Plantes (p. 327; 275 yds.). — 

The station is on a viaduct in the middle of the Gare d'Orle'ans ; 

entrance in. the Boul. de LHopital, exit on the Quai d'Austerlitz. — 

The Seine is crossed by the Viaduc d'Austerlitz (p. 327; view to 

the left of the town). 
Place Mazas (PI. E, 25, 7; p. 182). — We cross the canal called the 

Gare d'Eau de l 1 Arsenal (p. 181) and enter a tunnel under the 

Boul. Bourdon. 
Arsenal (PI. R, 25; 7), station near the foot-bridge of that name. 
Place de la Bastille (see Appx., p. 29), where we pass under Line 1. — 

Then under the Boul. Richard-Lenoir (p. 181). 
Rues Breguet-Sabin (PI. R, 26; 7). Place des Vosges (p. 191; »/ 4 M.), 

Victor Hugo's House (p. 192; l / s M..). 
Boulevard Richard-Lenoir (PL R, 26), station almost opposite the 

Passage Muufle. — Farther on under the Boul. Voltaire. 
Rue Oberkampf (PL R, 27; ///). 
Place de la Republique (PL R, 27; ///), see above. — We pass over 

Line 3 and under the Boul. de Magenta (tunnel). 
Rue de Lancry (PL R, 27 ; ZZY), the temporary terminus. 
The line is being continued under the Boul. de Mageuta and the 

Rue du Faubourg- St-Martin to the — 
Gare de l'Est (PL B, 24; p. 209), which will be a station also on 

Lines 4 & 7 (see below & Appx., p. 34). The terminus will be at the — 
Gare du Nord (PL B, 24), which will have a station also on Line 4 

(see below). 



Additional Lines are being laid, or are projected, as follows: 4. From 
the Porte de Clignancourt (PL B, 19) to the Porte d'Orleans (PL G, 18). 
This line (7 M.) will traverse the town from N. to S., with stations at the 
Gares du Nord and de VEst (PL B, 24; see p. 209) and the Halles Centrales 
(PL H, 20 ; 111) ; it will then pass under the Seine by tubular tunnels above 
the Pont au Change (PL It, 19, 7; p. 260) and the Pont Si. Michel (PI R,19, 7 5 

Baedeker. Paris. 16th Edit. Ill 



34 



OMNIBUS ROUTES. 



p. 269), and stop at St-Germain-des-Pr&s (PL R, 19, IV; see p. 294) and the 
Gare Montparnasse (PL G, 16). 

6. From the Place d'ltalie to the Place de la Nation (see pp. 334, 253), 
a prolongation of Line 2 S, which will cross the Seine by the Pont de Bercy 
(PI. G, 28). 

7. From the Hotel de Ville (PI. R, 23; V) to the Place du Danube 
(PI. B, 32), via the Optra (PI. R, 18, 77; p. 79), the Gare de VEst (Pi. B, 24; 
p. 209), and the Buttes-Chaumont (PI. B, 30). 

8. From the Opera (p. 79) to Auteuil (Porte Molitor; PI. R, 1), via 
the Madeleine (PI. R, 18; 77), the Place de la Concorde (PI. R, 18; II), and 
the Esplanade des Invalides (PI. R, 14; II, IV). 



For Lost Property apply at the Gare de Vincennea (1.30-7 p.m.) within 
the first 48hrs.; after that at the office at Quai des Orfevres 36. 



Omnibus Routes, 

Fares, when not otherwise indicated: outside 15c, other places and 
correspondances 30 c. Comp. p. 2S of the Handbook. 



Lines 



Offices. 



A. Garrefotir des Feuillantines- 
Place Clicliy (PL G, 19 & 
B, 17). 

B. Trocadiro - Gare de VEst 
(PI. K, 8 & B, 24). 



C (motoromn.). Porte de Xen- 
illy-Hdtel de Yille (PI. B, 9 
& R, 23). 

B. Boul. des Filles-du-Calvaire- 
Les femes (PI. R, 26 & B, 9). 



E. Madeleine-Bastille (PI, R, 18 
& R, 25). 

F. Place Wagram-Bastille (PL 
B, 11 & R, 25). 



G. Square des Balignolles- 
Jardin des Plantes (PL B, 14 
& G, Q2, 25). 

H. Clichy - Ode" on (PL B, 14 
& R, 19). 



Carrefour des Feuillan tines, Boul. St. Michel 65 
(Rue Soufflot), Odeon (Rue de Medicis 1), 
then as in line H (see below), but in the 
opposite direction. — Section 10 c. 

Trocade'ro, St. Phil.-du-Roule, St. Augnstin 
(Boul. Halesherbes 51), Gare St. Lazare, 
Trinite, R. de Chateaudun, Sq. Montholon 
(R. La Fayette 79), Gare de TEst. 

Porte de ISTeuilly, Place de TEtoile, Av. des 
Champs -Elysees (opp. the stat. of the 
Me'tro), Palais-Royal, R. du Louvre, Av. 
Victoria 5. 

Boul. des Filles - du - Calvaire , Boul. de Se- 
bastopol 77, Halles Centrales (Pointe St. 
Eu-tache), R. du Louvre, Place du Palais- 
Royal, Boul. de la Madeleine 27, St. Phil.- 
du-Roule, Boul. Haussmann 175, PL des 
Ternes, Les Ternes, beyond the railway. — 
Section 10 c. 

Madeleine, Boul. des Italiens 8, Porte and Boul. 
St. Denis, PL de la Republique, Boul. des 
Filles- du-Calvaire, Bastille. 

Pl.Wagram, R. Legendre, Boul. des Batignol- 
les 63, Gare St. Lazare, Bourse, PL des 
Victoires , Halles Centrales (Pointe St. 
Eustache), R. de Rambuteau 56, Bastille. — 
Section 10 c. 

Sq. des Batignolles, PL de Clichy,^ Trinite', 
Palais. Royal, R. du Louvre, Chatelet (R. 
St. Denis 4), Boul. St. Germain 14, Jardin 
des Plantes (R. Linne). — Section 10 c. 

Av. de Clichy 143, PI. de Clichy 4, R. de 
Chateaudun 15, Boul. des Italiens 8, PL du 
The'atre-Francais, Quai des Tuileries (Pont 
du Carrousel), St. Germain - des - Pre's, St. 
Sulpice, Ode'on (R. de Me'dicis I). — Sec 
lion 10 c. 



it 
t. 



OMNIBUS ROUTES. 



35 



Lines 



Offices. 



I (motor-omn.). Place Pigalle- 
Halle aux Tins (PL B, 20 
& R, 22). 

J (motor-omn.). Montmartre- 
Place St. Michel (PL B, 19 
& R, 19). 



K. Boul. St. Marcel - Notre- 
Darne-de-Lorette (PI. G, 22 
& B, 22). 



L. La nilette-St. Sulpice (PI. 
B, 28 <fe R, 19). 



HI. Buttes - Chaumonl - Palais 
Royal (PI. B, 30 & R, 21). 

N. Belleville-Louvre (PI. B, 33 
& R, 20). 

N*> is . Lac St. Fargeau-Louvre 
(PI. B, 36 & R, 20). 

0. Menilmontant - Gare Monl- 
parnasse (PI. R, 33 &G, 16). 



P. Charonne-Place dVtalie (PL 
R, 35 & G, 23). 



Q,. Plaisance-H6tel de Ville 
(PI. G, 14 & R, 23). 



S . Gare du Nord- Gare du Quai- 
d" Orsay - Gare des Invalides 
(PI. B, 24, R, 17, & R, 14). 

T. Place Jeanne-d' 1 Arc-Square 
Montholon (Pl.G, 26 & B, 21). 



U. Montsouris-Pl. de la Rtpub- 
lique (PI. G, 21 & R, 27). 

V. Rue de Sevres (Sq. des Me- 
naces)- Gare du Nord (PI. 
R, 16 & B, 24). 



PI. Pigalle, R. de Chateaudun, Boul. des Ital- 
iens 8, Bourse, PI. des Victoires, R. du 
Louvre, PI. St. Michel, PI. Maubert, Halle 
aux Vins. 

R. Championnet 105, Mairie du XVHIe arr., 
Boul. de Rochechouart, Sq. Montholon (R. 
La Fayette 79), Halles Centrales (Pointe 
St. Eustache), Chatelet (R. St. Denis 4), PL 
St. Michel. 

Boul. de Port-Royal 2, Jardin des Plantes 
(R. Linne), Boul. St. Germain 14, Chatelet 
(R. St. Denis 4), Halles Centrales (Pointe 
St. Eustache), R. de Chateaudun 15. — 
Section 10 c. 

R. de Flandre (Abattoirs), R. de Crime'e, Boul. 
de la ViJlette, Gare de LEst (R. de Stras- 
bourg 1), Porte St. Martin, Rue de Ram- 
buteau 56, PL St. Michel 2, St. Germain- 
des-Pres, St. Sulpice. 

R. Manin, R. de Meaux, Boul. de laVillette, 
Gare de PEst (R. de Strasbourg 1), Porte 
St. Denis, Bourse, Palais-Royal. 

R. de Belleville 25, Boul. de Belleville, PL 
de la R^publique 15, Boul. St. Denis 9, PL 
des Victoires, R. du Louvre 14. 

Lac St. Fargeau, near the Porte de Romain- 
ville, R. de Belleville 25, then as in 
line N. 

PL Gambetta, Boul. de Menilmontant 150, 
Boul. Voltaire 38, Boul. des Filles-du-Cal- 
vaire, Chatelet (Boul. de Sevastopol 3), St. 
Germain-des-Pr^s, Gare Montparnasse. — 
Section 10 c. 

R. de Bagnolet 149, R. des Pyrene'es, Pere 
Lachaise (Boul. de Menilmontant 17), Boul. 
Voltaire 130, Bastille,Gare du Quai-d'Auster- 
litz (Pl.Valhubert*, PL dltalie 3. — Sec- 
tion 10 c. 

R. de Vanves 198 (Plaisance), Av. du Maine 95, 
Gare Montparnasse, St. Sulpice, Sq. de 
Cluny (Boul. St. Michel 21), PL St. Michel 2, 
Chatelet, Hotel de Ville (Av. Victoria 5). — 
Section 10 c. 

Gare du Nord, Sq. Montholon (R. La Fa- 
yette 79), Bourse, PL du Theatre-Francais, 
Quai des Tuilerie?. Boul. St. Germain 225, 
Pont de la Concorde. 

PL Jeanne-d'Arc, Gare du Quai- d'Austerlitz 
(PL Valhubert), Boul. St. Germain 14, Quai 
de LHotel-de- Ville, R. du Bourg-Tibourg, 
R. de Rambuteau 56, Boul. St. Denis 9, 
Sq. Montholon (R. La Fayette 79). 

Station de Gentilly (Ceinture), Boul. de Port- 
Royal 2, Boul. St. Germain 14, PL de la 
Re'publique 15. — Section 10 c. 

R. de Sevres 65, R. des Sts. Peres 78, St. 
Germain-des-Pres, R. du Louvre, PL des 
Victoires, Bourse, Gare du Nord. 



36 



OMNIBUS ROUTES. 



Offices. 



X. Vaugirard-Gare St. Lazare 
(PI. G, 10 & B, 18). 

Y. Porte St. Martin Grenelle 
(PI. R, 24 <fc R, 7). 



Z. Bastille- Grenelle (PI. R, 25 
it G, 7). 



AB. PassyLa Bourse (PI. R, 5 
& R, 21). 



AC. <?«r« <Z« Nor d -Place de 
VAlma (PI. B, 24 & R, 12). 



AD. Champ - de - Mars- Quaide 
Valmy (PI. R, 11 4 E, 27). 



AE. Montrouge- Gare de Pa?sy 
(PI. G, 17 & R, 6). 

AF. PantMon- Gourcelles (PI. 
R, 19 & B, 11). 



AG. Pwte life Versailles- Louvre 
(PI. G, 8 & R, 30:. 



AH. Grenelle (. ravel) - Gare 
St. Lazare (PI G,7 &B,18). 



AHt>is. j&co/e Militaire- Gare 
St. Lazare (PL R, 10 & B, 18). 

AI. Gare St. Lazare-Place St. 
Michel (PI. B, 18 & R, 19). 

AJ. Pare Monceau-La Villette 
(PI. B, 15 & B, 29). 

AK. Gare St. Lazare- Gare de 
Lyon {PI. B, 18 & G, 25,28). 



AL. Gare des Batignolles- Gare 
Montparnasse (PI. B, 14 & 
G, 16). 

AM (motor -omn.). Mont- 
martre- St. Germain- des- Pr4s 
(PI. B, 19 & R, 19). 



R. Blomet 118, Boul. du Montparnasse 2, 
R. de Sevres 65, Boul. St. Germain 207, 
Madeleine, St. Lazare. — Section 10 c. 

Porte St. Martin, PI. du Palais- Hoyal, Q,uai 
des Tuileries (Pont du Carrousel), Boul. 
St. Germain 225, Ecole Militaire, Boul. de 
Grenelle. — Section 10 c. 

Bastille, Boul. St. Germain 14, Sq. Monge, 
Odeon , Gare Montparnasse , R. de Vau- 
girard 162, PI. Cainbronne, PI. Violet. — 
Section 10 c. 

PI. dePassy, Av. Henri-Martin, PI. deTEtoile, 
Boul. Haussmann 175, St. Philippe - du- 
Roule, Boul. de la Madeleine 27, Bourse. — 
Section 10 c. 

Gare du Nord (Boul. de Denain), Sq. Mon- 
tholon (R. La Fayette 79), Boul. des Ita- 
liens 8, Boul. de la Madeleine, PI. de la 
Concorde, PI. de FAlma. 

Av. Rapp, Ecole Militaire, R. des Sts. Peres 78, 
St. Germain- des -Pro's, Chatelet (Boul. de 
Sevastopol 3), PI. de la Republique, Quai 
de Valmy. 

Montrouge (Eglise), R. deVouille', PI. Violet, 
Pont de Grenelle, Gare de Passy (La Muette). 

Panthe'on, R. Soufflot (Boul. St. Michel 65), 
Odeon, St. Sulpiee, R. des Sts. Peres 78, 
Boul. St. Germain 207 & 226, Chambre des 
De'pute's, PI. de la Concorde, Madeleine, 
St.Augustin (Boul. Malesherbes 51), Boul. de 
Courcelles 98, Pl.Pe"reire. — Section 10 c. 

R. de Vaugirard 162, R. de Sevres 65, R. des 
Sts. Peres 78, St. Germain-des-Pres, Quai 
des Tuileries (Pont du Carrousel), PI. du 
Palais-Royal, Louvre. 

Rond-point St. Charles, PI. Violet, Boul. de 
Grenelle, Ecole Militaire, Pont <fc PI. de la 
Concorde, Madeleine, Gare St. Lazare. — 
Section 10 c. 

As the preceding line. 

Gare St. Lazare, PI. du Palais-Royal, R. du 
Louvre,Chatelet(R.St.Denis4). PI. St. Michel. 

Boul. Malesherbes 121, PI. Levis, PI. des 
Batignolles, PI. Jules- Jo ffi in, Boul. Barbes, 
R. de la Chapelle 55, R. de Crime'e. 

Gare St. Lazare (PI. de Rome), Boul. des Ital- 
iens 8, Boul. St. Denis 9, PI. de la Re- 
publique, Boul. Voltaire 38, Bastille, Gare 
de Lyon. 

Gare des Batignolles, Gare St. Lazare, Made- 
leine, PI. <fe Pont, de la Concorde, Boul. 
St. Germain 225 and 207, R. de Sevres 65, 
Gare Montparnasse. 

R. Ordener 72, PI. de Clichy 4, Gare St. Lazare, 
Ope"ra (by the stat. of the Metro), PL du 
Theatre-! ranca's, Quai des Tuileries (Pont 
du Carrousel), St. Germain-des-Pre's. 



TRAMWAY ROUTES. 



37 



Lines 



Offices. 



AN. Abattoirs de Vaugirard- 
Les Holies (PL G, 11 & R, 20). 



AO. Boulevard de Bercy-Boule- 

vard de la Villette (PL G, 28 

& B, 27). 
AQ. Mvntmarlre - Porte Uapp 

(Champ-de-Mars; PL B, 20 

& R, 11). 

AR. Square Montholcn-R. de la 
Tombe-Issoire (PL B. 21 & G, 
18). 



AS. Vaugirard (Eglise)-Pl. de 
la Bourse (PL G, 10 &R, 21). 



AZ. Porte cT Ivry-Bastille (PL 
G, 27 & R, 25). 



R. des Morillons, R. de Vouille, Boul. du Mont- 
parnasse 2, R. de Sevres 65, R. des Sts. 
Peres 78, St. Germain- des -Pres, Quai des 
Tuileries (Pont du Carrousel), PL du Palais- 
Royal, R. du Louvre, Halles Centrales 
(Pointe St. Eustache). 

Boul. de Bercy, Bastille, Boul. Voltaire 130 
(PL Voltaire), Boul. de la Villette (on the 
Canal and the Rue de Meaux). 

PL St. Pierre, PL de Clichy, Gare St. Lazare, 
St. Augustin (Boul. Malesherbes 51), St. 
Philippe- du-Roule, PL de l'Alma, Porte 
Rapp. — Section 10 c. 

Sq. Montholon (R. La Fayette 79), Halles 
Centrales (Pointe St. Eustache), Chatelet 
(R. St. Denis 4), PL St. Michel, Boul. St. 
Michel 21 (Sq. de Cluny) & 65 (R. Soufflot), 
Gare de Sceaux. 

R. Gerbert, R. de Vaugirard 162, Boul. du 
Montparnasse 2, R. de Sevres 65, R. des 
Sts. Peres 78, St. Germain-des-Pres, R. du 
Louvre 14, PL des Victoires, Bourse. — 
Section 10 c. 

Supplementary service: Gare duQuai-d'Auster- 
litz (Pl.Valhubert), PL de la Bastille. — 15 c. 
inside or outside \ with correspondance 30 c. 



Tramways. 

Fares, where not otherwise indicated: outside 15 c, other places and 
correspondances 30 c. Comp. p. 28 of the Handbook. 

Tramways belonging to the Compagnie des Omnibus. 



TO. Louvre- Vincennes (PL R, 
20 & G, 34). — See p. 253. 



TD. Etoile-La Villette (PL 
B, 12 & B, 26). — Comp. 
line TP. 



TE. Place de la Nation- La 
Villette (PL R, 31 & B, 26). 



XF. Cours deVincennes-Louvre 
(PL R, 3i & R, 20) or to the 
corner of Rues Montmartre & 
Etienne- Marcel before 10 a.m. 

T6. Montrouge-Oare de VEst 
(PL G, 18 & B, 24). 



R. du Louvre (St. Germain-LAuxerrois), Cha- 
telet, R. duBourg-Tibourg (Hotel deVille), 
Bastille, PL de la Nation, Vincennes. — 
40 & 20 c. 

PL de PEtoile, PL des Ternes, Boul. de Cour- 
celles 98, Boul. des Batignolles 63, PL de 
Clichy 4, Pl.Pigalle, Boul. deRochechouart, 
Boul. de Magenta, Boul. de la Chapelle, 
Boul. de la Villette 153. — 20 & 15 c. 

PL de la Nation, Pere - Lachaise, Boul. de 
Menilmontant, Boul. de Belleville, R. de 
Meaux, Boul. de la Villette (near the canal 
and No. 153). - 20 & 15 c. 

Cours de Vincennes, PL de la Nation, Boul. 
Voltaire 130 (PL Voltaire) & 38, PL de la 
Re"publique, Boul. de Sevastopol 77, Halles 
Centrales (Pointe St. Eustache), Louvre 
(St. Germain-rAuxerrois). 

Av. d'Orleans 123, R. d'Alesia, PL Denfert- 
Rochereau, Observatoire, Boul. St. Michel 65 
(R. Soufflot) & 21 (Sq. de Cluny), PL St. 
Michel 2, Chatelet, Boul. de Sevastopol 77 
& 114, Gare de TEst (Boul. de Strasbourg), 



38 



TRAMWAY ROUTES. 



Lines 



Offices. 



TG-^iB. Rue de Me'dids-Arpajon 
(seep.413;Pl.R,19&G,18). 



TH. La Chapelle- Square Monge 
(PL B, 22 & R, 22). 



TI. Gimetiere St. Ouen-Porle 
de Clignancourt-Bastille (PI. 
B, 19 & R, 25). 



TJ. Passy-Hdtel de Ville (PI. 
R, 5 & R, 23). 



TK. Louvre- Charenlon-Creteil 
(PL R, 20 & G, 36). — See 
p. 254. 

TL. Bastille- Avenue Rapp 
(Champ -de-Mars ; PL R, 25 
& R, 11). 



TM. Gare de Lyon -Place de 
VAlma - Av. Hen ri - Martin 
(Ceinture; PL G, 25, R, 12, 
& R, 6). 



TN. La Muette-Rue Taitiout 
(PL R, 5 & B, 21), via the 
Av. Victor- Hugo. 



TO- Boulogne- Auteuil- Made- 
leine (PL R, 1 & R, 18). 

TP. Trocadiro-La Villelte (PL 

R, 8 & B, 26). 
TO,. Porte d^Ivry-Les Halles 

(PI. G, 27 & R, 20). 



TR. Boulogne-LesMoulineaux. 
TU. PI. de la Nation- Gare de 

Sceaux (Paris-Denfert; PL 

R, 31 & G, 20). 
TV. Pantin-Ofira (PL B, 34 

<fe B, 18). 



Rue de Medicis 13 (Jardin du Luxembourg), 
Boul. St. Michel 65 (R. Soufflot), Obser- 
vatoire, PL Denfert-Rochereau, Montrouge 
(Eglise), etc. 

R. de la Chapelle 184 & 15***, Boul. de la 
Chapelle, R. La Fayette 158, Gare de LEst 
(Boul.de Strasbourg), Boul. de Sevastopol 114 
& 77, Chatelet, PL St. Michel, Sq. de Cluny 
(Boul. St. Michel 21), Sq. Monge. 

Cimetiere de St. Ouen, Porte de Clignancourt, 
Boul. Barbes, Boul. de la Chapelle, R. La 
Fayette 140, Gare de LEst (Boul. de Stras- 
bourg), PL de la Republique, Boul. Vol- 
taire 38, Bastille (Boul. Richard Lenoir). — 
40 & 20 c. 

Chaussee de la Muette (Gare de Passy), Places 
de Passy, du Trocadero, de LAlma, de la 
Concorde, Quai des Tuileries (Pont du Car- 
rousel), Quai du Louvre, Chatelet, Hotel 
de Ville (Av. Victoria 5). 

Louvre (St. Germain-rAuxerrois), Chatelet, 
Quai de THotel-de- Ville, Bastille, PL Mazas, 
Pont de Bercy, Pont National, etc. — 
50 (Sun. 65) & 35 c. 

Bastille, Boul. St. Germain 14, PL Maubert, 
Sq. de Cluny (Boul. St. Michel 21), St. Ger- 
main-des-Pres, Boul. St. Germain 207 (R. du 
Bac) & 225 (R. de Bellechasse), Pont de la 
Concorde, Av. Rapp. 

Gare de Lyon, R. de Lyon 39 (Av. Ledru- 
Rollin), PL Mazas, Gare du Quai-d'Austerlitz 
(Pl.Valhubert), then as line TL, and R. de 
Solferino 2 (Quai d'Orsay), PL de la Con- 
corde, PL de TAlma, PL du Trocadero, Av. 
Henri-Martin (R. de la Pompe & Ceinture). 

Chaussee de la Muette (Gare de Passy), Av. 
Henri -Martin (Ceinture), PL de TEtoile, 
Boul. Haussmann 175 (R. du Faub.-St- 
Honor£), St. Augustin (Boul. Malesherbes 51), 
Gare St. Lazare (R. de Rome), Opera, R. 
Taitbout. 

From the Rond-Point de Boulogne to the Porte 
d' Auteuil as line TAE. — Auteuil-Boulogne, 
15 & 10 c. ; Auteuil-Madeleine, 30 & 15 c. 
Trocadero, PL de LEtoile, thence as TD. — 

20 & 15 c. 
Porte dTvry, PL dltalie, Av. des Gobelins, 
R. Gay-Lussac, Boul. St. Michel 65 (R. 
Soufflot) & 21 (Sq. de Cluny), PL St. Michel. 
Chatelet (R. St. Denis 4), Halles Centrales 
(Pointe St. Eustache). 
Boulogne (e'gl.), Les Moulineaux (p. 341). — 10 c. 
PL de la Nation, R. de Charenton, Pont de 
Bercy, PL dTtalie, Gare de Sceaux (Boul. 
St. Jacques). 
Pantin, Boul. de la Villette, R. La Fayette 168, 
140, & 79 (Sq. Montholon), Opera. — 40 & 20 c. 
(45 & 25 on Sun. and holidays). 



TRAMWAY ROUTES. 



39 



Lines 



Offices. 



TX. Montr euil-Chdtelet (PL R, 
34 & E, 20, 23). 



TY. Charenton- Place de la R6- 
publique (PI. G, 36 & R,27). 
— See p. 254. 

TAB. Louvre- St. Cloud or 
Sevres and Versailles (PL R, 
20 & G, 1). — See pp. 339, 
349. 

TAC. Auteuil- St. Sulpice (PI. 
R, 1 & R, 19). 



TAD. Cours de Vincennes-St. 
Augustin (PL R, 34 & B, 15). 



TAE. Auleuil- Madeleine (PL 
R, 1 & R, 18). 



TAF. Montrouge-St. Augustin 
(PL G, 18 & B, 15). 



TAG. La Mueite-Rue Taitboul 
(PL R, 5 & B, 21), via the 
Av. Kleber. 

TAH. Boul. de Vaugirard- 
Gare du Nord (PL G, 13 
& B, 24). 

TAI. Qare du Quai-oTAuster- 
Utz-Gare du Nord (PL G, 
25 & B, 24). 



Montreuil, R. (TAvron 96, PL de la Nation, 
Boul. Diderot, Bastille, R. du Bourg- 
Tibourg, Hotel de Viile (Av. Victoria 5), 
Chatelet. — 40 & 20 c. 

PL des Ecoles in Charenton, R. de Charenton, 
Boul. Diderot, Bastille, Boul. des Filles-du- 
Calvaire, PL de la Republique. — 40 & 20c. 

Louvre, Quai des Tuileries (Pont du Car- 
rousel), PL de la Concorde, Pont de PAlma, 
Pont de Grenelle, Point-du-Jour, etc, — 
50 & 35 c. — 50 & 35 c — 1 fr. & 85 c. 

Auteuil (PL de PEmbarcadere l»is), p nt 
& Boul. de Grenelle, PL Cambronne, Boul. 
du Montparnasse, R. de Sevres 65, R. des 
Sts. Peres 78, St. Sulpice. 

Cours de Vincennes, R. des Pyrenees 40 (R. 
d'Avron), R. de Bagnolet, PL Gambetta, R. de 
Belleville, R. Bolivar 101, Rond-Point de la 
Villette, R. La Fayette 158, 140, & 79 (Sq. 
Montbolon), R. de Chateau dun, Trinite, Gare 
St. Lazare, St. Augustin. 

Porte d 1 Auteuil, PL de Passy, Trocadero, PL 
de FEtoile, Boul. Haussmann 175 (R. du 
Faub.-St-Honore), St. Augustin, Gare St. 
Lazare (R. de Rome), Madeleine. 

Av. d'Orle'ans, R. d'Alesia, Av. du Maine 95, 

• PL du Maine (R. de LArrivee 24), Boul. 

du Montparnasse 2, EcoleMilitaire (Av. Du- 

quesne), St. Philippe-du-Roule, St. Augustin. 

Chaussee de la Muette (Gare de Passy), Av. 
Henri-Martin (Ceinture & R. de la Pompe), 
PL da Trocadero, PL de FEtoile, and then 
as line TN. 

PL du Maine (R. de LArrivee 24), Gare Mont- 
parnasse, St. Germain - des - Pre's , PL St. 
Michel, Chatelet, Boul. de Sevastopol 77 
& 114, Gare de LEst, Gare du Nord. 

Gare du Quai - d'Austerlitz (PL Valhubert), 
PL Mazas, Gare deLyon, PL de la Bastille, 
Boul. des Filles-du-Calvaire, PL de la Re- 
publique, Gare de PEst, Gare du Nord. 



Tramways Nord (Tramways de Paris et du Departement de la Seine). 



TNA. Etoile-Gourbevoie (Sur- 
esnes; PL B, 12 & B, 1). 

TNAB. Madeleine - Courbevoie 
(Pont de Neuilly, Av. de la 
Defense ; PL R, 18 & B, 2). 

TNB. Madeleine - Courbevoie 
(Pont de la Jatte: PI. R, 18 
& B, 1). 

TNB a. Madeleine- Neuilly (R. 
du Chateau, via the Av. du 
Roule; PI. R, 18&B, 2). 



PL de FEtoile, Porte Maillot, Pont de Neuilly, 
Av. de la De'fense. — 40 & 20 c. — From 
Courbevoie to Suresnes (1 3 /4M.): 20 & 10 c. 



Madeleine, St. Augustin, Pare de Monceau, 
PL Malesherbes, PL Pe'reire, Porte deCham- 
perret, etc. — 50 & 25 c. — 45 & 25 c. — 
45 & 25 c. 



40 



TRAMWAY ROUTES. 



Lines 



Offices. 



TNAE. Porte Maillot- St. Ouen- 
St. Denis (Rond- Point de 
Pi cardie; PI. B, 9 & B, 13). 

TNAJ. Neuilly (St. James)-£L 
Augustin (PI. B, 3 & B, 15). 



TNC. Madeleine-Levallois (PI. 

R, 18 & B, 7, 4). 
TND. Madeleine-Asnieres-Gen- 

nevilliers (PLR,1S & B,10,13). 



TNB». Madeleine- Asnieres 
(Carrefour des Bourguig- 
nons •, PI. R, 18 &B, 7,10), 
via the Porte d'Asnieres. 



TNDL-. Madeleine- Asnieres 
(Carrefour des Bourguig- 
nons; PI. R, 18 A B, 13), via 
the Porte de Clichy. 

TNDc. Madeleine-Si. Ouen (PL 
R, 18 & B, 13). 

TNE. Madeleine- St. Ouen- St. 
Denis (Rond- point de Pi- 
cardie 5 PL R, 18 & B, 16). 

TNF. St. Denis (Rond -point 
dePicardie)-Op<<ra(PLB.22 
& R, 18). 

TNG. Place de la Eipubliqve- 
Aubfrvilliers (PI. R, 27 & 
B, 28). 



TNGbis. Opira-Aube. villiers 
(R. du Moutier)-(Sf. Denis 
(Porte de Paris ; PL R, 18 
* B, 25). 



TNH. Place de la Mpubliqm- 
Pant in (PL R, 27 & B. 34). 



Line outside the fortifications, via the Route 
de la Revoite, etc. — 50 <fe 30 c. 

Pont de Puteaux, Boul. Richard -Wallace (Neu- 
illy), R. de Longchamp, Av. de Madrid, 
Av. du Roule, R. du Faubourg- St- Honore, St. 
Augustin. — 30 & 20 c. (no correspondances). 

Offices in Paris as TNAB as far as PL Pereire, 
then Porte de Courcelles, etc. — 45 <fe 20 c. 

Madeleine, Bnul. Haussmann, PL and Porte 
de Clichy, Clichy (Boul. National, Eglise), 
Asnieres (PL Voltaire), Gennevilliers (Av. 
de Paris, R. Aguado). — 50 & 25, 65 & 35 c. 

Madeleine, Boul. Haussmann, Boul. des Batig- 
nolles (R. de Constantinople), PL Males- 
herbes, Porte d' Asnieres, Levallois-Perret 
(H. Victor -Hugo, Route de la Revoite), 
Clichy (Boul. National, Eglise), Asnieres 
(PL Voltaire, Carrefour des Bourguignons). 
— 45 & 25 c. 

Supplementary service from the Porte d'As- 
nieres to the Pont d y Asnieres, via R. Victor- 
Hugo, and thence to Colombes (Quatre- 
Routes). — 15 & 10 c. 

Same route as in TND as far as Pl.Voltaire 
(Asnieres),. and thence to tbe Carrefour des 
Bourguignons. — 50 <fc 25 c. 

Same route as in TND a as far as Levallois- 
Perret, and then Clichy (Boul. Victor-Hugo), 
St. Ouen (Mairie). — 55 «fc 30 c. 

Madeleine, Boul. Haussmann, PL de Clichy, 
Porte de St. Ouen, etc. — 40 & 20, <fc 60 
& 30 c. — Small tramway in St. Ouen, 5 c. 

St. Denis (Barrage, Porte de Paris, Pont de 
Soissons), Porte & PI de la Chapelle (R. 
de Jessaint), Carrefour de Chateaudun, 
Opera. — 60 & 45 c. 

PL de la Republique, Gare de LEst (Boul. 
de Magenta), Gare du Nord, R. La Fa- 
yettel58,Rond-Pointde la Villette (Rotonde 
de Flandre), Porte de la Villette, Aubervil- 
liers (Quatre Chemins & Eglise). — 50 & 25 c. 

Opera, Carrefour de Chateaudun, Gare du 
Nord(R. Li Fayette), Porte d Aubervilliers, 
Aubervilliers (R. du Moutier & Ferragus), 
St. Denis (Porte de Paris). — Ope'ra-Auber- 
villiers, 35 & 20 c. ; Aubervilliers-St. Denis, 
20 & 15 c ; no correspondances. 

Same offices as TNG lib far asR. La Fayette 158, 
and then Rond-Point de la Villette (Rotonde 
d'Allemagne), Porte d'Allemagne. - 40 <fe 20 c. 
(45 & 25 on Sun. and holidays). Branch to 
LePri-St-Gervais (p. 242), 5c— From the 
Porte d'Allemagne to the Cimetiere Parisien, 
20 «fe 10 c. — From the Eglise de Pautin to 
the Quatre-Chemins, 10 c. —From the Cime- 
tiere Parisien to the Quatre-Chemins, 5 c. 



TRAMWAY ROUTES. 41 

Tramways Sud ( Compagnie Generate Parlsicnne de Tramways). 



Lines 



Offices. 



TS 1. St. Germain- des- Pris- 
Fontenay-aux-Roses (PL E, 
19 <fe G, 15). 

TS 2. St. Germain- des- Pris- 
Clamarl (PI. E, 19 & G, 9). 

TS 3. Moniparnasse - Etoile 
(PI. G, 16 <fc B, 12). 

TS 4. Montparnasse - Bastille 
(PI. G, 16 & E, 25). 

TS5. St. Philippe-du-Roule- 
Vanves (PI. B, 15 <fe G, 9). 



TS 6. Chdtelet- Vitry Ghoisy-le- 
Roi (PL R, 23 & G, 27). 

TS 7. Les Holies- Petit- lory 
(PI. R, 20 & G, 30). 



18 7'"*. Clos- Month olon-Mala- 
koff-Les Halles (Pi. G, 12 
& K, 20). 



TS 8. Chdtelet - Bicetre - Ville- 
juif (PI. R, 23 & G, 24). 

TS8M". Chdtelet- 1 vry (PI. R, 
23 & G, 30). 



TS 9. Gare du Quaid'Ausler- 
litz- Place de la Nation (P). 
G, 25 & R, 31). 

TS 10. Bastille- Charenton (PL 
R, 25 & G, 35) 

TS11. Place Pfreire- Champ 
de Mars (PI. Ii, 11 & R, 10). 



St. Germain-des-Pres, Gare Montparnasse, PI. 

Denfert-Rochereau (Gare de Sceaux). Av. 

d'Orl^ans, etc., via Montrouge and Chdtillon. 

— 45 & 25 c. 
St. Germain-des-Prcis, Gare Montparnasse (PJ. 

de Rennes), Porte de Versailles, etc., via 

Issy and Vanves. — 45 & 25 c. 
Gare Montparnasse, Ecole Militaire (Av. l>u- 

quesne), PI. de PAlina, PL de PEtoile. 
Gare Montparnasse, Av. de L'Observatoire, 

Carrefour des Gobelins, PL Valhubert (Gare 

da Cjuai-d'Austerlitz), Bastille. 
St. Phil.-du-Roule, Ecole Militaire (Av. 96 la 

Motte-Picquet), Boul. de Grenelle, R. Oam- 

bronne, R. Lecourbe, Porte de Versailles, 

etc. — 25 & 15 c. 
PL du Chatelet, PL Maubert, Boul. St. Marcel 

(Gobelins), PL dltalie, Porte de Choisy, 

etc. — 35 & 20 c, 50 & 30 c. — See p. 414. 
Halles Centrales (Bourse de Commerce, R. 

Coquilliere), Chatelet, and thence as TS 6 

as far as the PL d'ltalie and Porte aTvry, 

etc. — 25 <fe 15 c 
Clos-Montholon, Cimetiere de Malakoff, Porte 

Didot, Av. du Maine, Gare Montparnasse, 

Boul. St. Germain, St. Andre, PL St. Miobrl, 

Chatelet, R. des Halles, R. de Rambuteau, 

R. Coquilliere. — No correspondances. From 

Malakoff to Les Halles, 25 & 15 c. 
Same offices as line TS 6 as far as the PL 

d'ltalie, and then by tbe Porte d'ltalie, 

etc. — 25 & 15 c. — 35 & 20 c. 
Same offices as line TS 6 as far as the PL 

d'ltalie, and 1hen Boul. de la Care, PL 

Jeanne -d' Arc, Porte de Vitry, Ivry. - 

30 & 20 c. 
Gare du Quai-d'Austerlitz (Pl.ValhuberiJ, PL 

Daumesnil, PL de la Nation. 

PJ. de la Bastille, PL Dauinesnil, Port.: de 
Picpus, St. Mande, Charenton (Rue de St. 
Mandd). — 30 & 20 c. 

Places Pereire, de f Etoile, de TAlma, Kooi 
Militaire (A v. Bosquet). 



42 



TRAMWAY ROUTES. 



Suburban Tramways. 

These lines ('Tramways de Penetration' ) do not 'correspond' 
with the lines already mentioned. They are propelled by different 
systems of electric or mechanical motive power. 



Tramways Est (Compagnie des Tramways de VEst Parisien). 



Names 



Routes. 



Optra (PI. R, 18; II)- Pantin 
(PI. B, 34; p. 242)- Le Raincy 
(p. 417). 



Optra (l»l. R,18; lI)-Noisy- 
le-Sec (p. 387)- Bondy (Gare 
de Gargan). 



Optra (PI. R, 18 ; U)-Montreuil 
(p. 'myFontenau (p. 416). 



Optra-Bagnolet (p. 251: 
Floral). 



Rue 



Font de la Concorde (PI. R, 18 ; 
11)- Bagnolet {?. 251 ; Mairie)- 
Romainville (p. 242), in con- 
nection with the line from 
the Opera to Bondy (see 
above). 

Pont de la Concorde (PI. R, 
18 ; 77) - Bonneuil-suv-Marne 
(p. 448). 



Pont de la Concorde (PI. R, 18: 
U)-Vitry (p. 415). 

Charenton ($. 258; EcolesMi- 
fortville($. 258; R. des Ca- 
me"lias). 



Rue du Quatre-Septembre, R. Reaumur, R. 
du Temple, PI. <fc Av. de la Republique, 
R. des Trois-Bornes, Av. Parmentier, R. de 
Meaux, R. Secretan, R. Manin, Porte Chau- 
mont (PI. B, 32), Le Pre-St-Gervais (p. 242), 
Pantin (p. 242), Nbisy-le-Sec (p. 387), Bondy, 
Le Raincy (PI. Thiers). — Within Paris, 
20 & 15 c. — Branch from Pantin to Bobigny. 

As the preceding line to the Av. de la Re'- 
publique; then, Pere-Lachaise, PI. & Av. 
Gambetta, Porte de Romainville (PI. B, 36), 
Les Lilas (p. 242), Romainville (p. 242), 
Noisy- le-Sec (G are), Bondy (Gare de Gargan). 
— Within Paris, 20 & 15 c; outside Paris, 
25 & 15 c. 

As the preceding line as far as PI. Gambetta; 
then, R. Belgrand, Porte de Bagnolet (PI. 
R, 36), Bagnolet (p. 251 ; Mairie), Montreuil, 
Fontenay-?ous-Bois (Gare). —Within Paris, 
20 & 15 c. 

As the preceding line as far as Av. de la 
Republique; then, R. Oberkampf, R. de 
Menilmontant, R. Sorbier, PI. &, Av. Gam- 
betta, R. St. Fargeau, Boul. Mnrtier, Porte 
de Me'nilmontant (PI. R, 36), Bagnolet (R. 
Flore'al). — Within Paris, 20 & 15 c. 

Quais d'Orsay^olta're^tc, Pont Sully, Boul. 
Morland, Boul. Bourdon, PJ. de la Bastille, 
R. du Faub.-St-Antoine, Av. Ledru-Rollin, 
R. de Charonne, R. de Bagnolet. Porte de 
Bagnolet (PI. R, 36), Bagnolet (Mairie), Les 
Lilas (p. 242), Romainville. —Within Paris, 
20 & 15 c. 

Pont de la Concorde, Quais d'Ors ay, Voltaire, 
etc. , Porte de la Gare (PL G, 30), Ivry (p. 415), 
Alfortville (p. 258), Maisons-Alfort (p. 418), 
CrcSteil (p. 417; Eglise), Bonneuil. — 70 A 
40 c. ; within Paris, 20 & 15 c. — Branch 
from Cr<Steil to Bonneuil via St. Maur (PI. 
cTAdamville). 

As the preceding line as far as Ivry, and 
thence to Vitry (Eglise) by the Route de 
Vitry & the Av. des Ecoles. — 35 & 20 c. 

Charenton (R. Gabrielle). Pont de Charenton, 
Alfortville (R. des Came'lias). — 25 & 15 c. 



TRAMWAY ROUTES. 
I Tramways Quest (Compagnie des Tramways de V Quest Parisien). 



Names 



Routes, 



Gare cTAuteuil (PI. R, i)-Bou- 
lognc (p. 346 ; PI. Bernard- 
Palissy, comp. PI. p. 236). 



Gare d'Auteuil (PI. R, l)-Pont 
de Billancourt (p. 3i4; right 
bank). 



Gare d"Auteuil (PI. R, i)-Pont 
de St. Cloud (p. 341). 



Billancourt (p. Mi)- Champ-de- 
Mars (PI. R, 10). 



Chdtenay (p. 410)-CAa»jp-<?c- 
Mars (PI. R, 10). 



Porte d'Auteuil, Porte Molitor, R. du Pare, 
R. du Chalet, R. des Tilleuls, PI. du Par- 
champ, PL Bernard-Palissy. — 15 & 10 c. — 
Branch towards the Hippodrome de Long- 
champ by the Boul. de Boulogne. 

Porte cTAuteuil, Porte Molitor, R. du Pare, 
R. du Chalet, R. du Pavilion, Av. Victor- 
Hugo, R. des Quatre - Cheminees, R. de 
Meudon, PI. Nationale, R. de St. Cloud 
(Boul. de Strasbourg). — 15 & 10 c. 

As the preceding line as far as Av. Victor- 
Hugo ; then, R. de laPlaine, R. de Sevres, 
Av. d e la Reine (end of the Pont de St. Cloud). 

— 15 & 10 c. 

PI. Nationale (Boulogne), Pont de Billaneourt, 
Route des Moulineaux (Issy), R. Ernest- 
Renan, Porte de Versailles (PI. G, 8), R. de 
Vaugirard, R. de la Convention, R. de la 
Croix-Nivert, Pl.Cambronne, Av. deSuffren. 

— 35 & 25 c. 

Chatenay(Route Nationalel86), Sceaux (p. 409), 
Fontenay-aux- Roses (p. 408), Bagneux 
(p. 408; PI. Dampierre), Montrouge (p. 413; 
Av. de la Republique) Porte de Montrouge 
(PI. G, 18), R. Friant, Av. de Chatillon, R. 
cTAle'sia, R. dela Convention, R. delaCroix- 
Nivert, PI. Cambronne, Av. de Suffren. — 
95 & 60 c. 



Tramways of the Left Sank (Compagnie Electrique des Tramways 
de la Rive Gauche de Paris). 

Porte de Viocennes, R. Michel-Bizot, R. de 
Wattignies, Pont de Tolbiac, R. de Tolbiac, 
R. d'Alesia, R. de Vouille, R. de la Con- 
vention, P„nt Mirabeau, etc., R. Michel- 
Ange, Porte de St. Cloud. — "Whole journey 
within Paris 25 & 20 c. 

St. Mande (p. 255; Porte de Vincennes), St. 
Maurice (p. 253), Maisons-Alfort (p. 418), 
Alfortville (p. 258), Ivry (p. 415), Kremlin- 
Bicetre, Gentilly (p. 409), Montrouge (p. 413; 
R. de Bagneux), Porte d'Orleans. 

Porte d'Orleans, Montrouge (p. 413; R. de 
Bagneux), Mabkoff(p. 408), Vanves (p. 342), 
Issy-les-Moulineaux (p. 342), Boul. Gam- 
betta, etc., Pont de Billancourt, Av. des 
Moulineaux (Boulogne), Porte de St. Cloud. 

Porte de St. Cloud, Av. des Moulineaux 
(Boulogne), R. Thiers, Rond-Point Victor- 
Hugo, R. Denfert-Rochereau, Porte de 
Boulogne. — 15 <fe 20 c. 



Porte de Vincennes (PI. R, 34)- 
Porle de St. Cloud (VI. G, 1), 
through the S. quarters of 
Paris. 



Porte de Vincennes (PI. R, 34)- 
Porte d'Orltans (PI. G, 18), 
through the S. suburbs. 



Porte d'OrUans (PI. G, 18)- 
Porte de St. Cloud (PI. G, 1), 
continuation of the preced- 
ing line. 

Porte de St. Cloud (PI. G, 1)- 
Bois de Boulogne (Porte 
de Boulogne, comp. Plan 
p. 236). 



42 



TRAMWAY ROUTES. 



Chemiis &e Fer Nogentais. 

These electric tramways stari '"rom the station of the Mitropolitain Railway, 
SM the Porte de Vincennes: comp. PI. R, 34 and p. 263. 



Names 



Routes. 



Place de la Re'publique (Pl.R, 27; 
lIl)-VillemombU (p. 417). 



Paris - Mitropolitain - Ville -Ev- 
rard or Maison- Blanche, via 
the Boul. de Strasbourg. 



Paris - Metro - La Maltournie, 
via the Pont-de-Hulhouse. 

Paris-Mitro-Noisy-le-Grand. 



Paris Metro- Villemomble{G&re. 
de Gagny), via Montreuil. 



Paris- Mitro-Champigny . 



Av. de la Re^uhlique (R. de Malte), Boul. de 
Menilmontant, Av. Philippe- Augusts, Pi. nV 

la Nation, Porte deVincennes (see above), St. 
Mande'(p. 255). Vincennes (p. 255), Fontenay- 
sous-Bois (p. 416), Rosny-sous-Bois (p. 417), 
Station of Raincy-Villemomble. — 60 <fe 40 c. 

Porte de Vincennes, St. Mande' (p. 255), Vin- 
cennes (p. 255), Fontenay-sous-Bois (p. 416), 
Nogent-sur-Marne (p. 416 ),Le Perreux(p. 41 6), 
Neuilly-sur-Marne(p.4l7),Gournay(stationof 
Ville-Evrard or Maison-Blanche). — 85 & 55 c. 

As above as far as Nogent-sur-Marne-, then, 
Pont-de-Mulhouse, Le Perreux (p. 416-, 
octroi office). — CO & 40 c. 

As above as far as thePont de Mulhouse-, then, 
Le Perreux (p. 416), Bry-sur-Marne (p. 416), 
Chateau-de-Bry, Noisy-le-Grand. — 85 & 55 c. 

Porte de Vincennes, St. Mande (p. 255), Vin- 
cennes (p. 255), Montreuil (p. 258), Rosny- 
sous-Bois (p. 417),Villemomble (p. 417 ; Gare 
de Gagny). — 45 & 30 c. 

Vincennes (p. 255), Nogent-sur-Marne (p. 416), 
Pont de Mulhouse, Le Plant -Cbampigny 
(p. 417). — 75 & 50 c. 



Tramways of other Companies. 



Names 



Routes. 



Place de VEtoile-Bt. Germain- 
en-Laye, see p. 373. 

Porte Maillot (PI. B, 9) -Val- 
or Or (Suresnes; pp.223 and 
348), called the 'Chemin de 
Fer du Bois-de-Boulogne\ 

Porte Maillot (PI. B, %)-Bezons- 
Maisons-Laffiite (p 391). 



Porte Maillot (PI. B, 9)-Co- 
lombes (p. 390) - Argentev.il 
(p. SVQ)-Bezons (p. 371). 

2?pine*y(p.386 ; Lac d'Enghien)- 
La Trinite (PI. B, 18). 



Along the Bois de Boulogne, to the N. (Neuilly ; 
comp. the PL p. 236), then to the W., near 
the Seine and Longchamp (race-course), and 
via. Suresnes till about halfway to St. Cloud. 

— 45 & 30 c. 

Neuilly (Porte Maillot), R. du Chateau, He 
de la Jatte, Courbevoie (p. 340), Colombes 
(junction), La Garenne (station-, p. 371), 
Bezons (quay; p. 371), Le Grand-Cerf, Houil- 
les (Chemin des Blanches), Grande-Ceinture, 
Sartrouville (p. 391), Maisons-Laffitte (race- 
course), Le Pare de Maisons, Maisons-Laf- 
fitte. — Fares 80 or 55 c, to Bezons 50 or 30 c. 

To Colombes as in the preceding line ; then, Co- 
lombes (Mairie), Argenteuil, Bezons (quay). 

— 85 or 55 c. 

Epinay (Lac d'Enghien), St. Denis (Eglise; 
p. 350), St. Ouen (Maine-, p. 220), Porte de 
Montmartre (PI. B, 19), R. Damrc'mont, R. 
Caulaincourt, Boul. & PI. deClichy; then, 
R. d Amsterdam and de Londres or (return- 
journey) R. de Clichy. — 70 & 45 c. 



OHEMIN DE FER DE CEINTURE. 



45 



Names 



Routes 



St. Cloud (p. 346)- Pierre fitte 
(p. 397). 



Churenton (p. 258) - St. Maur 
(p. 417) -La Varenne-St-Hi- 
laire (p. 417). 



St. Cloud, Pont de St. Cloud, the quays, Cour- 

bevoie (p. 340), Asnieres, Boul. Ornano, St. 

Denis, R. de la Re'publique, R. de Paris, Av. 

St. Denis. — 1 fr. 26 or 75 c. 
Pont de Charenton, Gare de St. Maur, Pont 

de Cre'teil, Eglise de laVarenne-St-Hilaire. 

— 40 & 30 c. 



Cable-Railways. 

Funiculaire de Belleville, from the Place de la Re'publique (PL R, 27) 
to the church of St. Jean Baptiste (PL B, 33), not in connection with any 
of the omnibuses or tramways. — Fare 10 c. 

Funiculaire from the Place St. Pierre (station of the Metro, Place d'An- 
vers) to the Sacre'-Coeur de Montmartre (PL B, 20). — Up 10 c, down 5 c. 



Stations of the Chemin de Fer de Petite Ceinture. 

(Comp. the annexed Plans and p. 31 of the Handbook.) 



Miles 



Stations (etc.); fares 40 & 20 c. or 55 & 30 



3'/4 

3^/4 

4 

5 



53/4 
6V2 

7 
73/ 4 

83/4 
93/4 
10V< 



Gare St. Lazare (p. 213; station of the Metro). Tunnel. 

Les Batignolles , where the St. Germain , Normandy, and Ver- 
sailles lines diverge. 

Courcelles-Ceinture (PL B, 11). At this station the two ends of the 
line encircling the city unite. 

Courcelles-Levallois. Passengers for Clichy or Belleville change 
here, ascending the staircase opposite the exiL — Towards Auteuil, 
tunnel. 

Neuilly, Porte-Maillot (p. 223; stat. of the Me'tro). Two tunnels. 

Avenue du Bois-de-Bouiogne, at the entrance to the Bois (Porte 
Dauphine; Metro). 

Avenue Henri-Martin (Trocadero-Ceinture; p. 233), also near the 
Bois. Two short tunnels. 

Passy (p. 233). To the right the Ranelagh (p. 233). 

Auteuil (p. 234), at the S.E. end of the Bois de Boulogne, near 
the racecourse (p. 237). Then the "Viaduct mentioned at p. 234. 
On the right are the Bois de Boulogne, St. Cloud, the heights 
of Sevres and Meudon, Issy, etc. On the left the city itself 
with the Eiffel Tower, Champ-de-Mars, Trocadero, etc. 

Point-du-Jour. *View still more picturesque. The Seine is now 
crossed by an imposing "Viaduct (p. 234). 

Grenelle, where a branch diverges to the Champ-de-Mars and an- 
other to Les Moulineaux (Sevres, St. Cloud ; p. 344). Embank- 
ment. View. 

Vaugirard- Ceinture. To the left, the former Jesuit college. Tunnel. 

Ouest-Ceinture, where the line passes under the Rive Gauche 
railway ; carriages changed for Versailles (see p. 348). 

Montrouge (p. 338). The next tunnel ( 5 / 8 M. long) intersects the 
Catacombs. 

Pare de Montsouris (p. 338), where passengers for the Sceaux rail- 
way (p. 408) alight. Goods station. 

La Maison- Blanche (p 409). To the right is the Hospice de Bicetre 
(p. 408). Tunnel. 



46 



CAB TARIFF. 



Miles 



Stations (etc.); fares 40 & 20 c. or 55 it 30 c. 



11V« 



12 

12i/ 2 
13 

13'/* 

14 
Ui/4 

15'A 

16V* 

n»A 

173/4 

i8>/4 



19 

193/4 
201/4 
211/4 



OrUans-Ceinture, junction for the Orleans railway. The train 
now crosses the Seine by the Pont National. To the left the 
Wine Stores of Bercy. 

La Rapie-Bercy. The train crosses the Lyons line and the Av. 
Daumesnil by a viaduct, near the Bois de Vincennes (p. 256). 

Rue Claude-Decaen, the most convenient station for this Bois. 

Bel-Air-Ceinture, where carriages are changed for Vincennes. 
St. Mande, to the right, see p. 255. 

Avenue or Cours de Vincennes (p. 253; Metro). On the left the 
columns of the Place de la Nation (p. 252). 

Rue d'Avron. 

Gharonne. Long tunnel (l 3 /4 min.) on the E. side of Pere-Lachaise 
(p. 242). 

Minilmontant. A long tunnel passes under part of Belleville (2V>min.) 
and a cutting intersects a corner of the Buttes-Chaumont (p. 240). 

Belleville- Villette. We cross the Canal de VOurcq (p. 241). To the 
right, the cattle-market and 'abattoirs' of La "Villette (p. 241). 

Pont-de-Flandre, the station for the 'abattoirs 1 . Docks. Gas-works. 

Est-Ceinture. Exclusively for passengers by the Ligne de TEst. 
No exit. 

La Chapelle-St-Denis , the junction for the trains coming from 
the Gare du Nord (I1/4 M.), between the station of Pont Mar- 
cadet, in the Rue Ordener and the goods-station. Junction for 
the St. Denis and other lines. To the left, Montmartre (p. 213). 

Boulevard Ornano, near the cemetery of St. Ouen. 

Avenue de St. Ouen. St. Ouen village (p. 220). 

Avenue de Glichy. Open view. The train passes under the Ouest line. 

Courcelles-Ceinture (see Appx., p. 45). Passengers returning to 
St. Lazare (23 M.) alight here, and enterjthe St. Lazare train 
at the adjacent Courcelles-Lavallois station. 



Cab Tariff. 

(Comp. also pp. 27, 28 of the Handbook.) 

It is the duty of every driver to offer his number to the person who 
engages him. Any passenger having cause for complaint against the driver 
must produce the number-slip. 

The driver of a disengaged cab, whether plying for hire in the street or 
waiting his turn on a rank (irrespective of his position in such rank), is 
bound to drive to whichever point the person engaging him may direct. 

Cabmen are not obliged to accept more than the legal number of pass- 
engers (2 in the case of ordinary cabs with a strapontin). They may decline 
to carry animals. 

Gratuities may not be demanded by the drivers, but it is usual to 
give 20 or 25 c. per drive, or per hour, in addition to the fare. 

The colours of the lamps indicate the respective depots to which the cabs 
belong, and it is important to bear these in mind at night (see p. 27). Cabs 
belonging to the Arc de Triomphe quarter have white lamps; Popincourt- 
Belleville(N.E.), blue ; Poissonniere-Montmartre (central), yellow ; Passy-Batig- 
nolles (W.) red; Invalides-Observatoire, and the left bank of the Seine, green. 

Articles left in cabs should be given up by the cabmen at tlJe Pre- 
fecture de Police, where application should be made for them (see p. 265). 

Luggage, one trunk 25 c, two 50 c, three or more 75 c. Drivers are 
bound to assist in loading and unloading luggage. Those whose cabs have 
no galerie may refuse to take anything beyond hand-baggage. 

The Niyht Tariff is due within Paris from 12.30 to 6 a.m. in summer 
(April 1st to Sept. 30th) from 12.30 to 7 a.m. in winter (Oct. 1st to March 31st). 
Outside Paris the night tariff is due from 12 to 6 in summer and from 10 
to 7 in winter. 



CAB TARIFF. 



47 



1. Taximeter Cabs. 

For 1200 metrep distance or 9 min. drive, 75 c. ; for each 4C0 metres 
or 3 min. additional, 10 c. At night, within the city, 50 c. extra per drive 
or per hr. 

If the taximeter passes through one of the city gates (whether going 
out or timing in), an extra 50 c. is paid. 'Indemnite de retour 1 for a cj 
discharged outside the gates, 1 fr. 



2. Voitures de Place. 



Within the City. 



By Day. 



At Night. 



Cab for 2 pers. 
Cab for 4 pers. 
Landau for 4 pers. 



Per 


Drive 


fr. 


c. 


1 


50 


2 


— 


2 


50 



Per Hour 
fr. c. 
2 — 

2 50 

3 — 



\r 


Drive 


fr. 


c. 


2 


25 


2 


50 


3 


— 



Per Hour' 
fr. c. I 
2 50 

2 75 I 

3 50 



Beyond 

the 

Fortifications. 



From 6 a.m. till 12 at night in summer, or from 
7 a.m. till 10 p.m. in winter. 



When the hirer 

returns to the 

town in the 

same cab : 



When the hirer _ iT _ ■ 
does not return, he; .When the cab 
must make addi- 1 1S h . ir e d outside 
tional payment of: 



the town: 



Cab for 2 pers. . 
Cab for 4 pers. . 
Landau for 4 pers. 



Per Hour 

fr. c. 

2 50 

2 75 

3 or 3 l /z fr. 



Return Money 
fr. c. 
1 — 

1 — 

2 — 



Per Hour 
fr. c. 
2 — 
2 75 

3 or 3Va fr. 



By the hour. The minimum charge is for one hour, after which the' 

payment is calculated by fractions of five min. each. — If kept waiting 

more than V* hr. the cabman should be paid by the hour. 



5. Motor Cabs (Voitures de Place Automobiles). 



C a b for 2 pers.: 1 fr. 25 c. for the first kil 

Cab for 4 - : 1 fr. 50 c. - - 
Landau for 4-6 - : 2 fr. - - 

By night, 1 fr. extra in each case, within the 
a city-gate is passed through (in either direction), 1 fr. 'Indemnite de retour 
for cabs discharged outside the fortifications, 50 c. per kil. 



50 c. each addit. kil. 
60 c. - 
80 c. - 
fortifications. Each time 



4. Compagnie Francaise des Automobiles de Place. 



Tariff 1 



Tariff 2 



Tariff 3 



Fare 



1-2 pers. within Outside the city or more By night i 
the city than 2 pers. within (see Appx., p 46) 



To 900 metres ; 
Addit. 300 



750 metres 
250 - 



600 metres 
200 - 



75 c. 
10 c. 



Each time a city -gate is passed through (in either direction), 50 c. 
'Indemnite de retour 1 for vehicles discharged in the Bois, 1 fr.. discharged- 
outside the fortifications 50 c. per kil. 



48 



River Steamboats. 



Oonip. p. 30 Of the Handbook and our Plans of Paris, in which the various 
stopping places arc indicated ny and for the steamboats plying i 
Charenton and Anleni) and the Pont d\Austerlitz and AntcuU, and 
for those between the Pont-Royal and Surcsnes. 



Oharenton-Auteuil. 


M 


Pont d'Aust.-Aut. 


M 


Pont-Roy.-Suresnes. 


a 




(10 c ; Sun. and 


a 


(10 c; Sun. and 


% 


(20 c. ; Sun. and 


1 




holidays, 20 c.) 


PQ 


holidays, 20 c.) 


CQ 


holidays, 40 c.) 


m 




IChakenton (p. 258) 


r. 






:i>i.j 






\Alforlville (p. 258) 


1. 












\L«s Carrieres 


r. 












iQuai iflrru 


1. 












ufagasim Ge'ne'rau-.v 


r. 












\Pont National 
[Pant de Tolbiac 


r. 












1. 












<Pont de Beret/ 


r. 












fFOVr D'AuSTERLtTZ 


r. 


Pont d'Austeumi/ 










(p. 327) 




Jardin des Plantes 


1. 








\Jardin des Plantes, 


1. 


(p. 327), 2nd pier 










Hn ascending (p. 327) 




Pont Sully (p. 182) 


ile 








Pont de la Tournelle 


1. 


Boulev. Henri IV 










"Bonl. St. Germain 




Pont St. Louis 

Ile St. Louis (p. 268) 

Pont cTArcole 


ile 
r. 








'Hotel de Yille 


r. 


Hotel deVille (p.175) 










1 (Place 5 p. 175) 














Chat i let (Place: 
I p. 174) 


p, 


Pont-JSTeuf (p. 258) 


1. 










Pal. de Just. (p. 261) 


1. 








L 


LI DO LOUVRE 

ouvre (p. 92). 


r. 


Pont du Carrousel or 
des Sts.Pires (p. 29S) 










Po> 


T-EOYAL(p.a)S) 


r. 


Pont-Rotai, (p. 298) 


1. 


Pont K ova i. (p. 298) 


p. 




Ru 


j an Bac (p. 300) 




Tuileries (p. 67) 




Tuileries (.p. 67) 






Po* 

C 


T DE I.A l\'N- 

jude (p. 67) 


t 


Pont de la Con- 
corde 


1. 


Pont de i,\ Con- 
corde 


r. 




Poi 


t Alexandre 111 




Place de la Cone. 




Place de la GoiBL 






(1 


>. 224) 




(p. 65), Champs 
Elysees (p. 71) 




I p. 05), Champs 
Elysees (p. 71) 






Pot. 


tdesInvalides 


i-. 


Pont des Invalid es 










11 


). 225) 




(p. 225) 










Pon 


t de UAlma 


r. 


Pont de VAlma 


1. 


Pont de VAlma 


r. 




(I 


.225) 




(p. 225) 




(p. 225) 






PON 


TD'IliNA (p. 233) 


r. 












Oha 


nip -de -Mars 




QuaidePassy(v.'233) 


1. 


QiiaidePassy(j>.WQ 


r. 




(I 


>. 312) 








Quai d'Auteuib m! 


r. 




Tro 


eadero (p. 230) 


r. 






(p. 234) 






Pas 


sp- Qrenelle 


ile 






Les Peupliers (p.344) 


r. 




Pon 


t de Qrenelle 


ile 


Pont de Grenelle 


1. 


Billancourt (p. 3Ai) 


r. 




Alh 


; e des Cysjnes 




Alice des Cygnes 




Bas-Mcudon (p. 313) 


1. 




(1 


». 234) 




(p. '234) 




Belleeue Fuuieulaire 


1. 




La 


Qaliote (Auteuil, 


r. 


Pont Mirabeau 


1. 


(p. 314) ■ 






P 


234) 




(p. 235), Jayel 




Sevres (p. 344)jp, 


1. 




Que 


ti d' Auteuil 


p. 


Auteuil (Point-du- 


r. 


Boulogne (p. 346) 


r. 




Poi 


nt-du-Jour 


r. 


Jour; p. 234) 




St. Cloud (p. 316) 


L 




(I 


>. 234) 








Les Coteaux 
Longchamp (on race. 


i. 

D 








LjfrfoM 














days; p. 237) 














SURKSNES (p. 3l7) 


1. 





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